This paper aims to examine the nature of the situationist concept of spectacle, especially by separating it into its philosophical elements, in order to check the effectiveness, from a systematic point of view, of situationism’s radical critique. In doing so, the main focus of our attention will be Debord’s major theoretical work: Society of the Spectacle. In fact, the concept of spectacle, repeatedly evoked in other writings, has its most far-reaching version in that small but great book, (...) whose first edition was published in 1967. (shrink)

Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage our (...) appropriate reactive attitudes, and until we locate a relevant difference between these depictions in gorefests and in other genres, we should assume that the depictions in gorefests do no damage. I consider and reject three candidate differences: in artistic merit, meaningfulness, and audience orientation. Until genre skeptics identify a relevant difference, we should accept the taste for gory fictions as we would any other morally innocuous variation in taste. (shrink)

The article considers the problem of images and the role they play in our reflection turning to evidence provided by two seemingly very distant theories of mind together with two sorts of corresponding visions: dreams as analyzed by Freud who claimed that they are pictures of our thoughts, and their mechanical counterparts produced by neural networks designed for object recognition and classification. Freud’s theory of dreams has largely been ignored by philosophers interested in cognition, most of whom focused solely on (...) the linguistic incarnation of thoughts, but even though commonly neglected by respectable theories of thinking, dream images may prove to be the key to the black box of thought. As argued in this article, when seen from the right perspective and approached with the right set of questions, oneiric visions yield groundbreaking insights into the mechanism of how concepts and judgments are formed. Support for this conclusion comes from a tradition seemingly remote, if not opposed to psychoanalysis: the mechanical model of the mind conceived by information sciences and embodied in the form of artificial neural nets which mirror the activity of human visual cortex producing visions strikingly similar to those created by the sleeping mind. These purely mechanical, artificial ‘dreams’ constitute byproducts of algorithms designed for object recognition and classification, which, as I shall argue, reveals the true purpose of our own oneiric visual formations. Just like their mechanical counterparts produced by neural networks, condensations and displacements encountered in dreams are in fact visual universals. (shrink)

The unfolding of the panorama of images of US prisoner abuse of Iraqis and the quest to pin responsibility on the soldiers and higher US military and political authorities is one of the most intense media spectacles of contemporary journalism. Evoking universal disgust and repugnance, the images of young American soldiers humiliating Iraqis circulated with satellite-driven speed through broadcasting channels, the Internet, and print media and may stand as some of the most influential images of all time.

This dissertation aims to show the philosophical content of the ‘society of spectacle’ concept, which was elaborated by a French thinker from the second part of the 20th century, Guy Debord. The study achieves this aim by means of the history of philosophy, analyzing this concept in the context of previous and contemporary philosophical ideas. Analysis, the structural method, the hermeneutic method of interpretation, and the comparative method are prime research methods. The philosophical part of Guy Debord’s legacy is (...) underexplored, so the dissertation helps to make significant progress in its exploration, because it sheds light on the key concepts of this theoretician. -/- The topic is divided into three themes discussed in the corresponding chapters. In the first chapter the research discusses the literature on the ‘society of spectacle’ and the proper methodology for exploring the philosophical content of this concept. In the next chapter the research covers the ontological basis of this concept in the framework of the history of philosophy, and in the third chapter the study focuses on the historical and philosophical research of the portion of the content of the concept which expresses Debord’s social and political philosophy. -/- The dissertation argues that the ‘society of spectacle’ concept is rooted in Guy Debord’s ideas about discrete space and the specific ontological status of ‘image’ as a substitute for reality. Thoughts in the area of ontology distinguish Guy Debord’s concept from similar ideas of other authors; for instance, from Roland Barthes’ theories. On the contrary, the ontological basis of the ‘society of spectacle’ places this concept in close quarters with Jean Baudrillard and Jacques Derrida’s ideas about space and reality. The dissertation particularly argues for the conceptual proximity of G. Debord’s notion of ‘image’ with Jean Baudrillard’s notion of ‘simulacrum’, and also of G. Debord’s notion of ‘creating of images’ with Jacques Derrida’s notion of ‘deconstruction.’ The study then argues that G. Debord’s ‘society of spectacle’ concept is a more radical interpretation of the irrationality of social behavior than similar concepts of thinkers such as Karl Marx, Herbert Marcuse, and Paul-Michel Foucault. Moreover, the analysis shows that G. Debord’s ‘society of spectacle’ concept is a result of a long development of philosophical ideas which compare world, society or cognitive processes with spectacle throughout all main periods of the history of Western philosophy, primarily its modern period. -/- In contemporary research literature on G. Debord’s theoretical legacy, the dissertation primarily contributes the new idea that Debord’s thoughts have an ontological basis that opens new vistas for further researching their content and explaining their influence on contemporary culture. (shrink)

Today, in the situation that we call the instanternity of the digital age, the visual aspect of the social (and power) relations is ever more important. The majority of human interactions on the Internet are happening in the field of vision. In this field, human desire follows the scopic drive, which is, according to Freud, expressed in the ambivalence of voyeurism and exhibitionism. This means that voyeurism and exhibitionism are the fundamental mechanisms operating in, and structuring, the digital virtual. This (...) topic, in a broader sense, tackles the inscription of the subject within the digital virtual spectacle, which deals with the relation between the individual’s imaginary and symbolic identification, that is, between the ideal ego and the ego ideal. To a certain extent, this also relates to what has been marked as a »pathological narcissism«. Even if the changes brought about by the digital virtual, as far as the subject is concerned, are not ontological, i.e. they do not concern its relation to being, they do concern its entry into the field of the Other, and can, because they are systemic changes, fundamentally restructure the social fabric. The bet of this article is therefore not only to try to understand the mechanisms driving the formation of subjectivity within the digital virtual, but also to trace their transformative potential. (shrink)

Our contemporary politics faces the paradoxical problem that while we are inundated with images on our screens, we nevertheless seem to lack creative political imagination to conceive of solutions to our global problems. One account for this paradox is Chiara Bottici’s suggestion that the constant stream of virtual images produced qualitatively alters them to such an extent that they become ends in themselves: thus, spectacularizing our politics. My claim, against Bottici’s, is that it is not the case that the increase (...) in images created causes a qualitative change; rather, the increase in images created results from an already occurred qualitative change that images are created for their own sake instead of as a response to the particular situation’s determining conditions. The concept of the imaginal, insofar as it is unhinged from these local conditions, is itself the precondition for the very problem of political spectacularization that we face. To support my claim, I utilize Aristotle’s concepts of imagination, desire, and practical truth to show that without truth conditions determined by the particular, the political imaginal ends up operating under the motive of image for its own sake—which is, at bottom, desire for its own sake—thus feeding into the creation of more images devoid of concrete solutions. (shrink)

In “Confucianism and Same-Sex Marriage,” published recently in Politics and Religion, Professor Tongdong Bai argues for a “moderate Confucian position on same-sex marriage,” one that supports its legalization and yet endeavors “to use public opinion and social and political policies to encourage heterosexual marriages, and to prevent same-sex marriages from becoming the majority form of marriages” (Bai 2021:146). Against the backdrop of downright homophobia prevalent among vocal Confucians in mainland China today, Bai claims that his pro-legalization rendition “show[s] a different (...) version of Confucianism that challenges the received perception of Confucianism that it is deeply conservative, a perception that often lies at the core of the rejection of its contemporary relevance, especially by the so-called ‘liberals’ in China and elsewhere” (Bai 2021:133). Furthermore, Bai claims that his moderate Confucianism is normatively preferrable to “the typical liberal or individualist position” of a marriage equality supporter, because the specter of polygamy – the conservative trope of invoking polygamy as a reductio ad absurdum against same-sex marriage – imposes “a serious challenge” to liberals but not to moderate Confucians (Bai 2021:146, 153). -/- Both of Bai’s claims falter upon scrutiny, however. Granted, it is applaudable that Bai tries to dissuade his more conservative Confucian colleagues from opposing the legalization of same-sex marriage. But as Section 1 of this Response will show, the alternative rendition of Confucianism he presents, along with the way he presents it, is premised on a highly contested conception of what shared Confucian values are; does injustice to Confucians who embrace marriage equality more unreservedly (i.e., without caveats à la Bai); fails to produce new arguments that “enrich the theoretical basis for same-sex marriage” (Bai 2021:133); and, ironically, reinforces – rather than “challenges” – the “received perception” of Confucianism as deeply conservative. Meanwhile, Section 2 will show that Bai’s comparison between liberalism and moderate Confucianism relies both upon an apparent unfamiliarity with the extensive and nuanced liberal discussions on polygamy, and upon fallacious methods of assessing comparative normative valence. -/- Finally, Section 3 will offer some concluding thoughts from the perspective of decolonial theory, examining the dynamic of spectacularized postcoloniality that propels the production and consumption of dubious theoretical projects like Bai’s. As it turns out, this case serves not only as a cautionary tale of how not to conduct comparative normative theorizing, but also as a cautionary tale of how not to let the spectacle of postcoloniality derail the pursuit of academic decolonization. (shrink)

Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a (...) range of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today. (shrink)

During the past decades, the culture industries have multiplied media spectacles in novel spaces and sites, and spectacle itself is becoming one of the organizing principles of the economy, polity, society, and everyday life. An Internet-based economy has been developing hi-tech spectacle as a means of promotion, reproduction, and the circulation and selling of commodities, using multimedia and increasingly sophisticated technology to dazzle consumers. M edia culture proliferates ever more technologically sophisticated spectacles to seize audiences and augment their (...) power and profit. The forms of entertainment permeate news and information, and a tablodized infotainment culture is more and more popular. New multimedia that synthesize forms of radio, film, TV news and entertainment, and the mushrooming domain of cyberspace, become spectacles of technoculture, generating expanding sites of information and entertainment, while intensifying the spectacle-form of media culture. Political and social life is also shaped more and more by media spectacle. Social and political conflicts are increasingly played out on the screens of media culture, which display spectacles like sensational murder cases, terrorist bombings, celebrity and political sex scandals, and the explosive violence of everyday life. M edia culture not only takes up expanding moments of contemporary experience, but also provides ever more material for fantasy, dreaming, modeling thought and behavior, and constructing identities. Of course, there have been spectacles since premodern times. Classical Greece had its Olympics, thespian and poetry festivals, its public rhetorical battles, and bloody and violent wars. Ancient Rome had its public offerings of bread and circuses, its orgies, its titanic political battles, and the spectacle of Empire with parades and monuments for triumphant Caesars and their armies, extravaganzas put on display in the 2000 film Gladiator.. (shrink)

The foundation of every society is the result of an arbitrary act: one of its parts takes control over the rest and (re)makes the world in its own image. Any sort of tribal, theocratic, feudal, political dimension in the history of our civilisation has indeed shaped reality according to its peculiar needs and aims, by means of a system of thought that could justify its permanence in time. The creation of artificial needs requires a distorted perception of inherent threshold values; (...) otherwise, Debord says, we wouldn't be the well-oiled cogs we're expected to be in the machinery of the system. The list of our natural needs is indeed quite short: only a few biological functions and a couple of psychophysical drives to be satisfied when necessary, such as sex and sociality. As a matter of fact, it doesn't take much for a human being to survive. Modern society can't afford to accept the concept of 'strictly necessary' though, not after its very existence became anachronistic and even threatening to a world ruled by the market-a world that needs buyers and consumers in order to survive. What Debord clearly points out is indeed the fake sense of freedom in our choices, the great lie presiding over our lives as consumers-a surrogate freedom that was bestowed upon us as yet another commodity. Even our dirtiest excesses are fed their daily fix of filth by the market; as long as our kinks imply some sort of purchase, we'll always find an industry willing to satisfy them. a use of the commodity arises that is sufficient unto itself; what this means for the consumer is an outpouring of religious zeal in honor of the commodity's sovereign freedom. waves of enthusiasm for particular products, fueled and boosted by the communications media, are propagated with lightning speed. a film sparks a fashion craze, or a magazine launches a chain of clubs that in turn spins off a line of products. the sheer fad item perfectly expresses the fact that, as the mass of commodities becomes more and more absurd, absurdity becomes a commodity in its own right... The spectacle is the moment when the commodity has attained the total occupation of social life. Not only is the relation to the commodity visible but it is all one sees: the world one sees is its world. Modern economic production extends its dictatorship extensively and intensively. In the least industrialized places, its reign is already attested by a few star commodities and by the imperialist domination imposed by regions which are ahead in the development of productivity. In the advanced regions, social space is invaded by a continuous superimposition of geological layers of commodities. At this point in the \"second industrial revolution,\" alienated consumption becomes for the masses a duty supplementary to alienated production. (shrink)

Review of Logic as Universal Science: Russell’s Early Logicism and Its Philosophical Context, by Anssi Korhonen (Palgrave Macmillan 2013).

“We are experiencing an ecological and social crisis, driven by exponential capital accumulation, whose end result will be the extinction of human civilisation” (p. 18). While it is easy to shrug off such a dramatic claim, in Alienation, Spectacle, & Revolution: A Critical Marxist Essay, Neil Faulkner takes this relatively strong claim and endeavors to demonstrate its truth. Thus begins his project of updating our understanding of alienation—not an easy task, but one that Faulkner does well. In a time (...) of a simultaneous dearth and deluge of information, Faulkner attempts to pull apart the dialectical and economic structures of the third industrial revolution and follows the breadcrumbs until he comes to a different “end of history.” Faulkner, who died in February 2022, was an archeologist and a political activist. He was a member of the Socialist Workers Party in the U.K. for many years and later a founding member of Anti-Capitalist Resistance. He wrote on topics ranging from the Arab-Anglo conflict to the history of the Olympics. While his corpus spanned several subjects, his books and articles all have a bitingly Marxist take that brought Faulkner much acclaim. (shrink)

The various ways whereby spatial conditions afford to monumentalize culture and to appropriate geographically demarcated places in terms of individual and collective meaning structures has been amply documented in urban cultural studies. However, considerably less attention has been paid to how cultural identity is produced against the background of musical temporality. By way of a phenomenological inquiry into the staged spectacle of James Corden’s (the host of CBS Network’s Late Late Show) Carpool Karaoke, this paper addresses the issues of (...) directly lived experience and authenticity as facets of cultural identity. By critically discussing the assumptions of self-presence and auto-affectivity while singing and listening to one’s sung voice against the background of pre-recorded songs, the notion of directly lived musical experience is put to the test. Furthermore, by examining the dramaturgical scaffolding of Carpool Karaoke, the analysis points to wider implications for post-modern cultural studies in terms of an identified ironic reversal of modernist universal criteria of legitimacy in favor of a celebration of postmodern being-with inauthentically. The analysis of the selected Carpool Karaoke corpus utilizes a resourceful blend of phenomenological method, semiotics and interpretive videography while challenging embedded orthodoxies in the extant literature. (shrink)

As far as the relationship between The Society of the Spectacle (1967) and Commentaries on the Society of the Spectacle (1988) is concerned, one either acknowledges Guy Debord's self interpretation, according to which these books complement each other, or one is forced to concede, on the contrary, the existence of an "epistemological cut", undermining, therefore, the revolutionary unity of Debord’s work. According to the first hypothesis, Machiavelli and Marx will eventually be linked up in a Situationist project to (...) overthrow spectacular society. However, the second hypothesis involves dismissing political economy analysis, whose field is apparently occupied by police logic. Because Debord’s interpretation seems to us to be more plausible, even though its defence is not an easy task, we will endorse his point of view. (shrink)

Why is there a specific problem with biological individuality? Because the living realm contains a wide range of exotic particular concrete entities that do not easily match our ordinary concept of an individual. Slime moulds, dandelions, siphonophores are among the Odd Entities that excite the ontological zeal of the philosophers of biology. Most of these philosophers, however, seem to believe that these Odd Cases oblige us to refine or revise our common concept of an individual. They think, explicitly or tacitly, (...) that to be a living, evolutionary entity is to be a living individual. In this paper, we explore an alternative proposal: the variety and oddity of the forms of the living realm might be ontologically regimented through an increase in the categorial complexity of the living realm, by admitting, beside living individuals, living non-individuals or by acknowledging, more generally, that the evolutionary development of the living forms is not necessarily a process of building individuals, that life is not necessarily individuals-oriented. We claim that, from an ontological point of view, the spectacle of the living realm obliges us to take aggregativity seriously. (shrink)

As far as the relationship between The Society of the Spectacle (1967) and Commentaries on the Society of the Spectacle (1988) is concerned, one either acknowledges Guy Debord's self interpretation, according to which these books complement each other, or one is forced to concede, on the contrary, the existence of an "epistemological cut", undermining, therefore, the revolutionary unity of Debord’s work. According to the first hypothesis, Machiavelli and Marx will eventually be linked up in a Situationist project to (...) overthrow spectacular society. However, the second hypothesis involves dismissing political economy analysis, whose field is apparently occupied by police logic. Because Debord’s interpretation seems to us to be more plausible, even though its defence is not an easy task, we will endorse his point of view. (shrink)

The claim that Galileo Galilei transformed the spyglass into an astronomical instrument has never been disputed and is considered a historical fact. However, the question what was the procedure which Galileo followed is moot, for he did not disclose his research method. On the traditional view, Galileo was guided by experience, more precisely, systematized experience, which was current among northern Italian artisans and men of science. In other words, it was a trial-and-error procedure—no theory was involved. A scientific analysis of (...) the optical properties of Galileo’s first improved spyglass shows that his procedure could not have been an informed extension of the traditional optics of spectacles. We argue that most likely Galileo realized that the objective and the eyepiece form a system and proceeded accordingly. (shrink)

Not long after the 2001 invasion of Afghanistan, an American citizen was captured by U.S. soldiers on he battlefield carrying a weapon and wearing the dress of a Taliban soldier. Heralded by the news media as the “American Taliban,” he became a spectacle, bound, gagged, naked and blind-folded on a stretcher in a photo taken soon after his capture. The story of how the homeschooled twenty-year-old from a middle-class Northern California family became an enemy combatant in the Afghani desert (...) piqued the popular imagination. After converting to Islam, he went to Yemen, learned Arabic, returned home and then left again to attend a madrassa (or Islamic religious school) before receiving training at an Al-Qaeda training camp in Afghanistan. Some Americans reacted to the young man’s story with wonder; others with loathing. How did this youth stray from the values that most Americans hold dear? In fact, he did not. Similar to Paul Maud’dib who, at the end of Dune Messiah, wandered into the desert a blind holy man, the American Taliban had acted in accordance with values that most American prize: self-reliance, ingenuity, spirituality and practical know-how. It is widely believed that the Fremen culture derives from their religion, Zensunni , an imaginative blending of Zen Buddhism and Sunni Muslim beliefs. However, a closer look reveals that the Fremen (similar to the American Taliban) were shockingly American in their core values. To demonstrate this, I begin by discussing the weirdness of Dune’s Fremen, their religion, customs and lifestyle. Then, I give a brief summary of American philosopher Ralph Waldo Emerson’s famous essay “Self-Reliance” followed by a similar treatment of John Dewey’s notion of democracy as a way of life. The essay returns to paint a clearer picture of the American Fremen and their exhilarating though dangerous faith in jihad as a way of life. (shrink)

Kate Crawford presents AI as “both reflecting and producing social relations and understandings of the world”; or again, as “a form of exercising power, and a way of seeing… as a manifestation of highly organized capital backed by vast systems of extraction and logistics, with supply chains that wrap around the entire planet”. I interpret these material insights through a Marxist understanding of ideology, with reference to Marx/Engels, Guy Debord and Louis Althusser. In the German Ideology, Marx and Engels present (...) ideology as the alienated and alienating discourse of exchange, dissimulating the material forces of production and its science. Guy Debord presents the spectacle as the further representation of capital. The spectacle is a total Weltanschauung, pure appearance, where “whatever appears is good and where what is good, appears.” Above all, the spectacle is ideology, representing “the impoverishment, enslavement and negation of real life”. Louis Althusser presents ideology as essential for the reproduction of labor-power and capital. His notion of “interpellation” explains the subjective uptake of ideology, how we respond, “yes!” to its call. The algorithms of AI are enactments of surplus value generating capital as data. The AI data-world is the spectacle, “the autonomous movement of non-life” (Debord) where the proletariat/consumer is the producer of their own ideological subjection. Is resistance possible? What form might it take? And if AI is understood as ideology, i.e. as a language that obscures the true conditions of real life, then what are those true conditions? What is “real life”? (shrink)

Using Foucault’s concept of governmentality vis-à-vis Appadurai’s “global ethnoscapes” as frames, I argue for a techno-cultural dimension which brought forth the phenomenon of the “dancing inmates,” an argument against the charge of Filipino colonial mimicry of a Hollywood popular entertainment. Albeit the inmates’ dance routines indeed depict Foucault’s “docile bodies” in his analysis of the modern prison, as pointed out by critics, I am inclined to show how the internet mediation through social media networks awakened a culturally imbibed dance and (...) musical character trait vis-à-vis the jolly cultural disposition of Filipinos. Thus, I view these characteristics as existential responses, hence, ‘creative resilience,’ to the inhuman incarcerating conditions of the prison life through using the art of dance with the aid of media technology. I argue on the role of the internet as the prisoners’ avenue to the outside world that was strategically deprived of them as a form of punishment, and the role of the internet as their last frontier to freedom and to realize their human potentials. (shrink)

The primary aim of this article is to point up an essential attitude, an anxiety even, that has inflected – and perhaps inhibited - our engagement with film. Film theory has been marked by a ‘refusal to see, a looking away’ (Mulvey & Wollen 1976, 36), and my suggestion is that this has achieved its fullest expression in those strands of film theory heavily influenced by psychoanalysis. These, in turn, have remained within a gendered conceptual framework whereby the discursive or (...) the narrative is associated with the masculine, and the image or spectacle is aligned with the feminine. This is not to reject these applications out of hand but rather to revisit this area with its blind spots in mind and to consider aspects that are perhaps at once obvious but often overlooked. (shrink)

ABSTRACT: Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) (...) in tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime. (shrink)

This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of suchordinary (...) aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

Scholars have associated the character of Pangloss in Voltaire’s Candide variously with the ideas of Gottfried Leibniz, Alexander Pope, and Christian Wolff. With them he is associated, but on whom is he modeled? Pangloss is the image of a French popularizer of science celebrated in his day but little noticed in ours: Noël Antoine Pluche (1688-1761), the author of a highly popular work, Le Spectacle de la Nature.

A relatively unknown woman named Maria Theresa Short opened a popular observatory in 1835 in Ed inburgh - a time and place where men of science and property had long failed to make a viable space for astronomy. She exhibited scientific instruments to a general public, along with a great telescope and a walk-in camera obscura that projected live views of the city and continues to delight audiences to this day. To better understand Short's accomplishments, achieved as scientific and public (...) life became increasingly closed to women, this study explores her largely untold story, and maps some of the places of science around it. Finding local contingencies, multiple sites and practices by diverse groups, it proposes that tensions within the connections between science and spectacle and the use of popularization to promote its professionalization produced gaps that even a marginal figure like Maria Short could inhabit and exploit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving seconds (...) too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

Neoliberalism has installed an unending competitive struggle in the economy. Within this context activists have pushed for a reappraisal of laziness and inactivity as forms of resistance. This idea has been picked up by Maurizio Lazzarato and Giorgio Agamben in different ways. I start with explaining the former’s appraisal of laziness as a release of potentialities unrealizable under financial capitalism. Lazzarato’s appraisal of laziness however resembles neoliberal theories of innovation, because both share the conceptual persona of a subject whose potentialities (...) exceed the current status quo. Potentiality is thus not an unambiguous antagonist of capitalism, as Lazzarato suggests. In order to adequately oppose neoliberalism, Lazzarato should question the role of potentiality in capitalism. Agamben has undertaken such a project. In the second part of the essay I consequently argue that Agamben’s philosophy of inactivity as impotentiality is able to circumvent neoliberalism and the society of the spectacle. (shrink)

The actual and potential uses of holograms in museum displays, and the philosophy of knowledge and progress that they represent. Magazine journalists, museum curators, and historians sometimes face similar challenges in making topics or technologies relevant to wider audiences. To varying degrees, they must justify the significance of their subjects of study by identifying a newsworthy slant, a pedagogical role, or an analytical purpose. This chasse au trésor may skew historical story telling itself. In science and technology studies, the problem (...) potentially is worst for those subjects that do not retain an enduring capacity for spectacle or do not readily conform to templates of progress or economic importance. The case of holography is an excellent illustration of these points. An unusually wide-ranging subject, holography has attracted competing interpretations of intellectual novelty, technological application, and cultural significance. This paper examines the history of museum collections and exhibits of holography from the explosion of interest in the technique in 1964 to the end of the twentieth century. I argue that holography presents a particular challenge to museum collections and to popular representations of the history of science and technology. (shrink)

This chapter explores the tentative line between erotic spectacle and horror; a judgement that is problematic given that is based on an axis of moral or ideological normality. The contexts of viewing impact on the status of ‘obscene’ images, both in terms of the communities that view them and their motivation for viewing; for sexual arousal, out of morbid curiosity or malevolence, or perhaps all three simultaneously. The reception of an obscene image is largely based upon the issue of (...) viewer consent, but this itself comes at the expense of the reality of bodies depicted, that are pushed to (and beyond) their limits. The chapter examines the moral and philosophical implications of desires that place the body in extreme states of sexualized deconstruction - both real and faked – and how these apply to images and communities in cyberspace. (shrink)

Ambiguity in the athlete’s perception and description of pain that opens the door to a series of reinterpretations of athletic experience and events that argue the development of an increasingly inauthentic relation to self and others on the part of those who consume performance as third parties (spectators) and ultimately those who produce it first hand (athletes). The insertion of the spectator into the sport situation as a consumer of the athlete’s activity and the preference given to spectator interpretation shift (...) control of meaning away from the athlete and encourage a demand for athlete suffering in aid of the spectator’s own need for meaning. Through discussions of the function of narrative in sport spectacle, the witnessing role of spectators, and the phenomenon of vicarious substitution, I discuss the representation of the athlete as a character ideal and moral exemplar. At a more developed level of external interpretation, the athlete (or team) becomes the champion of the spectator, the role model or focal point of civic pride whose victory asserts the ascendence of my team and town over yours; and finally, the athlete or team is the intentional object of fan identification: my team is me. I conclude that the existential commitment of the spectator as devoted fan is an inauthentic one. (shrink)

The present article has as its purpose to analyze the “spectacle” (ὄψις), from the conceptions developed in the Poetics of Aristotle, as a fundamental part in the tragic conception of Sophocles, in the work Oedipus Tyrannus. The analysis focused on the exodus of the play to demonstrate how aspects of theatrical representation are present in the tragic text.

The Situationist International (1957-1972) was a small group of communist revolutionaries, originally organised out of the West European artistic avant-garde of the 1950s. The focus of my thesis is to explain how the Situationist International (SI) became a group able to exert a considerable influence on the ultra-left criticism that emerged during and in the wake of the May movement in France in 1968. My wager is that the pivotal period of the group is to be found between 1960 and (...) 1963, a period marked by the split of 1962. Often this is described as the transition of the group from being more concerned with art to being more concerned with politics, but as I will argue this definitional shorthand elides the significance of the Situationist critique of art, philosophy and politics. The two axes of my thesis are as follows. First, that the significant minority in the group which carried out the break of 1962, identified a homology between the earlier Situationist critique of art — embodied in the Situationist ‘hypothesis of the construction of situations’ — and Marx’s critique and supersession of the radical milieu of philosophy from which he emerged in the mid- 1840s. This homology was summarised in the expression of the Situationist project as the ‘supersession of art’ (dépassement de l’art). Secondly, this homology was practically embodied in the resolution of the debates over the role of art in the elaboration of the Situationist hypothesis, which had been ongoing since 1957. However, it was the SI’s encounter with the ultra-left group Socialisme ou Barbarie that would prove decisive. Via Guy Debord’s membership, the group was exposed to both the idea of a more general revolutionary criticism, but also ultimately what was identified as the insufficiently criticised ‘political militancy’ of this group. Indeed, in the ‘political alienation’ found in Socialisme ou Barbarie, a further homology was established between the alienation of the political and artistic avant-gardes. This identity would prove crucial to the further elaboration of the concept of ‘spectacle’. By way of an examination of the peculiar and enigmatic ‘Hamburg Theses’ of 1961, and the relationship between these ‘Theses’ and the Situationist criticism of art and politics worked out over the first five years of the group, I will argue that the break in 1962 should be conceived as one against politics as much as art (rather than just the latter, as it is more often represented). Additionally, I will outline how the SI, through the paradoxical reassertion of their artistic origins, attempted to synthesise their criticism of art with the recovery of the work of Marx beyond its mutilation as Marxism. Indeed, it was the synthesis of these critiques that enabled the considerable development of the concept of ‘spectacle’, opening the way to the unique influence the SI exerted in the re-emergence of a revolutionary movement at the end of the 1960s. (shrink)

Ambiguity in the athlete’s perception and description of pain that opens the door to a series of reinterpretations of athletic experience and events that argue the development of an increasingly inauthentic relation to self and others on the part of those who consume performance as third parties (spectators) and ultimately those who produce it first hand (athletes). The insertion of the spectator into the sport situation as a consumer of the athlete’s activity and the preference given to spectator interpretation shift (...) control of meaning away from the athlete and encourage a demand for athlete suffering in aid of the spectator’s own need for meaning. Through discussions of the function of narrative in sport spectacle, the witnessing role of spectators, and the phenomenon of vicarious substitution, I discuss the representation of the athlete as a character ideal and moral exemplar. At a more developed level of external interpretation, the athlete (or team) becomes the champion of the spectator, the role model or focal point of civic pride whose victory asserts the ascendence of my team and town over yours; and finally, the athlete or team is the intentional object of fan identification: my team is me. I conclude that the existential commitment of the spectator as devoted fan is an inauthentic one. (shrink)

The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...) genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)

Some of Dave Chappelle’s uses of storytelling about seemingly mundane events, like his experiences with his “white friend Chip” and the police, are examples of what W.E.B. Du Bois calls “Positive Propaganda.” This is in contrast to “Demagoguery,” the sort of propaganda described by Jason Stanley that obstructs empathic recognition of others, and undermines reasonable debate among citizens regarding policies that matter: the justice system, welfare, inequality, and race, for example. Some of Chappelle’s humor, especially in his most recent Netflix (...) specials, but also in his earlier standup performances and his series The Chappelle Show, is akin to art that appeals to emotion in the ways suggested by Du Bois in “Criteria of Negro Art” (1926). Beauty is essential to art, but, “I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent” (p. 22). The “one side” is that which appears to extoll American ideals, but in reality undermines them, perpetuating the subordinate status of “the other”--black citizens. Replace “beauty” with “humor” or “funny”, and we see striking parallels between Chappelle’s socio-political performances and Du Bois’ call for positive propaganda, each of which constitute “civic rhetoric” broadly construed. We no longer live in Du Bois’ America of explicit denial of rights. In many ways our situation is worse, as the mechanisms of exclusion are implicit, difficult to dislodge, because they are invisible. Chappelles’ humor draws attention to subtle undermining-propaganda in our liberal democracy, transforming it through his counter-propaganda into the spectacle that it should be; ubiquitous democracy-denying propaganda should be as obvious to whites as it is to minorities. In his words, we should all see that “that shit is fucking incredible” (Killin’ Them Softly). (shrink)

On September 11, 2001, many of us experienced life as what it is not: we lived an extreme instance of the spectacle, of the sublime outside the realm of ethics. Starting with a few compelling questions that the media representations of the attack on the New York World Trade Center inevitably raise, this paper explores a series of similarities, continuums, and extrapolations of the aesthetic in different types of discourse from Friedrich Schiller to Guy Debord. My assessment of the (...) individual‘s dissolution in the ritual (former dissident and present Czech President Václav Havel‘s phrase) rejects the bleak Marxist theories of manipulation, without overlooking, at the same time, the potential dangers of unfreedom that the process of surrendering to the spectacle implies. Living life as show time may ultimately, and oxymoronically, prove to be the only option toward an infinitude of choices. (shrink)

Our work focuses on the novel Julie, or the New Heloise by Jean Jacques Rousseau (1761), particularly on the character of Saint Preux, Julie's lover. Our interest is strictly philosophical. First, we expose the ways in which Rousseau takes pleasure in denigrating Saint Preux to conclude that he is a feminine character: the virility-femininity distinction has no relation to the gender difference because (following a Socratic tradition through Plutarch) it is in agreement with the opposition between self-control (activity) - submission (...) to the passions (passivity); femininity is always a lack of virtue proper to men. Secondly, we focus on the annihilation of Saint Preux by the voluntary renunciation of his freedom, that is, of his humanity—an absurd and inconceivable renunciation, according to The Social Contract (1762). Thirdly, we examine the reasons for this annihilation; we propose that the novel, far from contradicting, ratifies and deepens the ethical and political condemnation of gallant love that Rousseau had carried out in the Letter to M. D'Alembert on Spectacles (1758). Finally, we examine the relevance of Saint Preux in our time, pointing out the connection that Rousseau denounces between the alleged freedom to love and political inaction Keywords: Virtue  Freedom  Slavery  Ethics  Plutarch. -/- Nuestro trabajo se centra en la novela Julia o la Nueva Eloísa de Jean Jacques Rousseau (1761), particularmente en el personaje de Saint Preux, el amante de Julia. Nuestro interés es estrictamente filosófico. Primero, mostramos los modos en los que Rousseau se complace en denigrar a su personaje enamorado para concluir que Saint Preux es femenino: la distinción virilidad-femineidad prescinde de la diferencia de género porque (recuperando una tradición socrática a través de Plutarco) coincide con la oposición entre dominio (de sí) /actividad - sumisión (a las pasiones) /pasividad; la femineidad es un defecto de virtud que compete siempre a los hombres. Segundo, nos detenemos en la (auto) aniquilación de Saint Preux por la renuncia voluntaria a su libertad, es decir, a su humanidad, renuncia absurda e inconcebible, según Del Contrato Social (1762). Tercero, preguntamos por las razones de esta aniquilación; proponemos que la novela de amor, lejos de contradecir, ratifica y lleva al último extremo la condena ética y política del amor galante que Rousseau había llevado a cabo en la Carta a d’Alembert sobre los espectáculos (1758). Finalmente, preguntamos sobre la actualidad de Saint Preux señalando la vigencia de esta imbricación que Rousseau denuncia entre la pretendida libertad de amar y la inacción política. Palabras Clave: Virtud  Libertad  Esclavitud  Ética  Plutarco. -/- . (shrink)

This paper interrogates Abdul Rasheed Abiodun Adeoye’s ‘neo-alienation’ directorial style’ as a viable directing technique on African theatre stage. The ‘neo-alienation’ style is an offshoot of Bertolt Brecht’s epic theatre that enhances the total theatre aesthetics and encourages actors’-audience’s relationship. It is a directorial style that has been tested severally on the Nigerian stage and proved worthy of exploration. Using the participant-observation and the deductive research methods, the theory shall be examined in relation to its usage in the production of (...) Adeoye’s The Smart Game- (A Neo- Alienation Script) and Wole Soyinka’s The Lion and the Jewel as directed by AbdulRasheed Abiodun Adeoye in 2002 and 2004 respectively. Thus, the study aims to archive and document the ‘neo alienation’ directing theory because of its immense aesthetics values to African plays and theatre directors. The study also showcases Adeoye as a conscientious theatre director, in whose works, other directors can learn from. The study concludes that the ‘neo-alienation’ aesthetics has been found to be a unique style full of theatrical spectacles that are capable of adding aesthetics and enhance African productions if explored. It is, therefore, recommended that Nigerian and African directors should work towards propounding at least a directorial style each which will add value to African theatre; the study also suggests that directors who have evolved their own directorial styles should endeavor to have them documented for posterity. (shrink)

The hypothesis that approaches the use of humour throughout the ages as something approximating a coping mechanism, has been subject to a long-standing discussion in what is known as humour studies. In this particular essay, by looking through the spectacles of one of the discipline’s theories, called relief theory, I will attempt to find out whether humour was used to lighten the weight of oppression in Imperial Rome, and can thus corroborate this hypothesis.

In 1994, Duverger spoke of a second type of fascism, to which he added a third for the future. This one would be based on spectacle, image, and the projection of myths of success. We are living in strange times, in which we no longer know how to place groups and ideas, we get lost in details, we establish classifications that make it harder for us to understand social phenomena. A shocking time in which the word “fascist” has become (...) so trivialised that it has almost lost all interest and meaning. If the range of regimes is so diverse, if we do not know what we are dealing with, what can we do? And yet fascism remains one of the great contemporary ideologies, the most recent and the most difficult to understand. Historically, it has been the cause of terrible genocides. (shrink)

This paper explores the ontology of the beautiful from the standpoint of competing logics, i.e., ways of speaking the Logos. The first is a theo-logic centered on the analogy of being, which uniquely regards reality as Logos—a structured hierarchy of the real, a ‘Who’ rather than a ‘What’—which provides an ontology of beauty as desirable being, and ultimately, the desirable Being. The correct response to reality is thus holiness, the sacral separateness of God imparted to, and thus borrowed by and (...) reflected through, creatures. The competing logic is what Baudrillard calls the simulacral, in which the real is suspended by its own model; the image exposes the poverty of the real and causes it to disappear altogether, revealing a transaesthetics of banality and indifference, a totalizing counterfeit of the real that is beyond real difference, beyond Logos—and therefore beyond structured hierarchy, beyond beauty and ugliness. The simulated real is thus the world of the spectacle, the world as product of consumer gaze. A way to repudiate the simulation, the murderous image, to uncover the real always and already grounding the image is to return to Logos: to emplace the image in a hierarchically relational context within Logos. The upshot is that, when so emplaced, the gaze of the image tells a different story: the world is not one of consumerist spectacle but of mutual self-gifting. Amidst the barbarism of the dislocated consumer ego, we can conscientiously commune with neighbor and turn away from what Augustine termed "fellowship with the demons.". (shrink)

This essay explores how some themes in the writing of Jean-Jacques Rousseau—particularly having to do with what it is to be a spectacle before others—might illuminate two feature films by the Spanish director Víctor Erice, The Spirit of the Beehive (El espíritu de la colmena, 1973) and El sur (1983).

The investigation that follows will flex in four directions, backwards and forwards, along the elastic threadthat ties the event of the bullfight to sex and thence a warm spill of sensation. In order to enter the fraythat is the bullfight, I will appropriate a term from Gilles Deleuze and Félix Guattari by way of which eachof the four thrusts I advance, or fights I present, can be read as asignifying ruptures [1] . With thisconcept we are encouraged to question the (...) integrity of signification. By breaching the threshold ofsignification there results a momentary loss of the senses, at which point we might take the opportunityto search out or invent other modes of making sense. The activity of writing, for instance, as one meansof experimenting with sense, "has nothing to do with signifying. It has to do with surveying, mapping,even realms that are yet to come" [2]. Though the bullfight is organised by way of its own particularcodes ofoperation and signification, much is also left to chance and the unexpected [3] . With thisemphasis on unexpected novelty in mind, I ask you to consider this paper as an arena in which fourbullfights will be conducted. The twists and turns of the trope of the bullfight will be surveyed across fourdifferent textual terrains in order to explore the effects that result in bringing these terrains into thevicinity of each other. As such, I will touch upon the work of Georges Bataille, Friedrich Nietzsche,Francis Bacon and Michel Leiris. As Nietzsche has suggested, using the tauromachic trope, to enter intoa "frightful and dangerous" enterprise does not necessarily enable the capture of an enraged bull [4]; atthe outset we cannot necessarily be assured of what will eventuate with the outcome. Furthermore, thatthe bull is always vanquished merely holds to the dictates of good and common sense, conventions that,in this arena, are only tenuously maintained. It is instead the event that surfaces as an incorporeal blocof sensation, exploding in the midst of the spectacle, that this paper determines to pursue. (shrink)

The Reverend Anthony Freeman gained a brief moment of fame last year when he lost his parish because his bishop took him to be an unbeliever. The British national newspapers enjoyed the spectacle of an ‘atheist vicar’ for a while; however, Mr Freeman himself always denied that he was an atheist. One paper reported an interview with his local parish magazine, where Mr Freeman was asked directly whether he believed in God. Mr Freeman replied that of course he did, (...) but that working out exactly what it means to believe in God was his life’s work. It may not unreasonable to ask how one can be so confident in believing something when one does not know exactly what it is. (shrink)

Science fiction has served the film industry like a dreamy stepchild. It gets only scant accolades from its master but must do heavy lifting: that is, make money. While science-fiction films often emphasize spectacle and action, they also inspire philosophical contemplation. Why? Science fiction, dating back to Shelley and Verne, came into existence speculating about humanity's social and physical worlds. Many books and articles over the past several years discuss the philosophical issues that films raise. One fairly new school (...) of thought, "posthumanism," explicitly deriving from postmodernism, with touches of critical theory, has seized on science-fiction movies as support for its theorizing. This volume and its 42 authors from film theory, science and technology studies, literary criticism, media studies, and philosophy, offer an array of posthumanist scholarship. (shrink)

In this essay, I have researched the artistic and political philosophy of the Situationist International – a revolutionary movement that has made a great impact on contemporary culture. Using the foundation of this research, I have then built on it with my own hypotheses and speculations on the meaning of art as we know it – questioning what defines true creativity and “authentic experience”. I then draw conclusions as to the successes and failures of the Situationist International, what we can (...) learn from them, and, along with the concepts I developed during the essay, how we can use the positive aspects of their work to contribute to our own “self-theory” and artistic approach. (shrink)