The title of this piece is meant to evoke at least three sources. The first – and perhaps the only obvious one – concerns the ability of holograms to display parallax, a shifting of visual viewpoint that allows a three-dimensional image to reveal background objects behind those in the foreground. This parallax view is a unique feature of holograms as visual media. A second allusion is to the American film The Parallax View (1974, director A. J. Pakula), (...) a rather paranoid thriller focusing on conspiracy theories concerning government and corporations. To a casual observer, the bare details of the military origins of holography suggest just such cynical and centrally-directed development, although I hope to dispel such simplistic ideas here. And a third passing reference is to the book The Parallax View (2006) by Slavoj Zizek, a wide-ranging and deep exploration of duality in political views, ontological interpretations and scientific methods, among other topics. Zizek’s theme, as well as Pakula’s, is relevant to my approach, which focuses on a parallax of both practice and intent. During the first successful decade of holography, conflicting viewpoints developed between distinct communities: the militarily-guided engineers who invented practical holography, and the later imaging scientists and artisans who stressed three-dimensionality and other attributes instead of the original goal of optical image processing. I argue that distinct groups of users had different perceptions of what holography is and what it is for. (shrink)

Theoretical applications of time and temporality remain a key consideration for both climate scientists and the humanities. By way of extending this importance, we critically examine Timothy Morton’s proposed “ecological awareness” alongside Slavoj Žižek’s “parallax view”. In doing so, the article introduces a “past-present parallax” in order to contest that, while conceptions of the past are marked by “lack”, equally, our conceptions of and relations to Nature remain grounded in an ontological incompleteness, marked by contingency. This novel approach (...) presents an ecological awareness that remains temporally attuned to the impasses and inconsistencies which frame our relations in/with Nature. (shrink)

Through examining the BBC television series, Black and British: A Forgotten History, written and presented by the historian David Olusoga, and in extending Paul Gilroy’s assertion that the everyday banality of living with difference is now an ordinary part of British life, this article considers how Olusoga’s historicization of the Black British experience reflects a convivial rendering of UK multiculture. In particular, when used alongside Žižek’s notion of parallax, it is argued that understandings of convivial culture can be supported (...) by a historical importance that deliberately ‘shocks’, and subsequently dislodges, popular interpretations of the UK’s ‘white past’. Notably, it is parallax which puts antagonism, strangeness and ambivalence at the heart of contemporary depictions of convivial Britain, with the UK’s cultural differences located in the ‘gaps’ and tensions which characterize both its past and present. These differences should not be feared but, as a characteristic part of our convivial culture, should be supplemented with historical analyses that highlight but, also, undermine, the significance of cultural differences in the present. Consequently, it is suggested that if the spontaneity of conviviality is to encourage openness, then understandings of multiculturalism need to go beyond reification in order to challenge our understandings of the past. Here, examples of ‘alterity’ are neither ‘new’ nor ‘contemporary’, but instead, constitute a fundamental part of the nation’s history: of the ‘gap’ made visible in transiting past and present. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La (...) Jetée (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Part of a special issue of Parallax on 'Field Philosophy and other experiments'. In a number of accounts, field philosophy has been described as providing freedom from disciplinary constraints. In this paper, however, I suggest the importance of paying closer attention to the strength of philosophy’s boundary policing and the consequences this might have for those interested in the approach. Discussing field philosophy in terms of disturbance, I highlight some of the difficulties and opportunities it produces. In particular I (...) focus on the labour involved in adopting new methods and working in new sites of enquiry. I suggest that reconstituting the ‘philosopher’ outside of their traditional habitats is no simple task. Still, I argue that field philosophers should lay claim to the boundary policing question ‘how is this philosophy?’ in order to proliferate accounts of what philosophy is and can be, with the hope that the discipline’s future might be turned more strongly towards supporting diversity rather than defending purity. Keywords: field philosophy; feminist philosophy; inclusion; methods; field research. (shrink)

About selected philosophical questions of the past and today, with Egon Bondy (1930-2007). In a reaction to his response, I'll add a redefinition of the existential view of decision that is incomplete, and an explanation why 'social science' can be mathematized. The article also include my other ideas which have been developed since 1995. The interview was published in Blisty and Nove Slovo (2003), and some experts were published in The Ice House, Holland Park, London (2013), and Parallax Art (...) Fair (2015). (shrink)

In 1995, as a student of psychology inspired by natural science, I defined a logical model of personality explaining psychosis. I created (for my MA thesis, 1998 and grant research, 1999) new kind of tests assessing intelligence, creativity, prejudices, expectations to show more exact methods in psychology. During my Phd study in economics, I developed 'Maximization of Uniqueness (Originality)' model enhancing the classic utility to explain irrational motivations linking economics and psychology. Later I became computer programmer developing functional programming. According (...) to Personality model (and my experience in chess composition), I've built server and client logic of information system www.each.co.uk, and produced visual art. I presented the excerpts of 'Personality Model' in a few articles, and later as part of my art exhibitions: From Animation (Oct 2013, Holland Park, London), Parallax 12 (Feb 2015, Chelsea Town Hall, London), Fading Memory (Sep 2015, Weißenohe / Nuremberg, Germany). Another work: The Science is a subset of the Art extends Personality Model to art, society. At the end I add example and explanation of a special problem, when the higher intelligence leads to a wrong solution. It was published in Japanese Journal Problem Paradise in 1999. All presented results can be repeated. Computer testing would enable to acquire more data and more exact analysis. (shrink)

This article approaches the COVID-19 pandemic as an inherently antagonistic phenomenon. To do so, it carries forward the philosophical contentions that Žižek outlines in his Pandemic! COVID-19 Shakes the World, as well as his wider work. With reference to the parallax Real and McGowan’s Hegelian contradiction, it is demonstrated that Žižek’s philosophical premises hold a unique importance in politically confronting COVID-19. Indeed, by drawing specific attention to the various ways in which our confrontations with the Real expose the limitations (...) of our socio-ideological orders, it is argued that it is in these very limitations that the limits of the Real are transposed through the various “fictions” we employ to fight and perceive it. In outlining this confrontation, a focused discussion on the Real as “impossible” – a “characteristic” that affords an important political significance for the present context and its ongoing limitations – is provided. In conclusion, if the COVID-19 pandemic demands a new “commons”, and if our response to the crisis should be one where the desires of the nation-state are regulated and controlled, then, it may not simply be enough that we “demand the impossible”. Instead, it is today that the impossible demands a new “us”. (shrink)

A precursor to the hard problem of consciousness confronts nihilism. Like physicalism, nihilism collides with the first-personal fact of what perception and action are like. Unless this problem is solved, nature’s inclusion of conscious experience will remain, as Chalmers warns the physicalist, an “unanswered question” and, as Jacobi chides the nihilist, “completely inexplicable". One advantage of Kant’s Copernican turn is to dismiss the question that imposes this hard problem. We need not ask how nature is accompanied by the first-person standpoint (...) because “I think” is an apperceptive form of thinking that must be able to accompany any cognition of nature. Kant’s formal conception of apperception worries Fichte in his Nova Methodo lectures. This conception arguably cannot exhaust the ground of experience, for it does not show why we posit objects “at all". For Fichte, it is our agency that first opens a world of objects, viz., as subjects, means, ends, and obstacles. In what follows, I argue that, for Fichte, the I poses no hard problem because it collides exclusively with nihilistic views like Spinozism, which are refuted by a properly transcendental idealist conception of apperception, according to which the first-person standpoint is the absolute ground of our experience of nature. If transcendental idealism refutes nihilism, nature is no more explicable than that there is something it is like for me to perceive and act. In Section 1, I show why Kantian apperception is necessary for possible experience. In Section 2, I reconstruct Fichte’s argument that a modified conception of apperception refutes guises of nihilism, thereby solving the hard problem of consciousness. In Section 3, I suggest that transcendental idealism undermines Chalmers’ proposed solution to and Dennett’s dismissal of this problem. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...) conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with these practical (...) and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

In On Touching, Derrida commends philosopher Jean-Luc Nancy for ‘taking into account [the] plasticity and technicity “at the heart” of the “body proper.”’ Specifying the meaning of this plasticity and technicity, Derrida writes, the"[s]upplementarity of technical prosthetics originarily spaces out, defers, or expropriates all originary properness: there is no “the” sense of touch, there is no “originary” or essentially originary touching before it." What is ‘proper’ or ‘original’ to the body, it seems, is not any set of properties or capacities (...) – including sensorial or perceptual powers – but rather the ‘plastic and substitutive structure of prosthetics’, the very possibility of the body’s ‘technical’ supplementation. (shrink)

It is Chantal Mouffe’s contention that the central weakness of consensus-driven forms of liberalism, such as John Rawls’ political liberalism and Jurgen Habermas’ deliberative democracy, is that they refuse to acknowledge conflict and pluralism, especially at the level of the ontological. Their defence for doing so is that conflict and pluralism are the result of attempts to incorporate unreasonable and irrational claims into the public political sphere. In this context, unreasonable and irrational claims are those that cannot be translated into (...) universalizable terms. However, for Mouffe, it is this intentional exclusionary act itself that is detrimental to a well- functioning democratic polity. It is only through the inclusion of a diverse body of subject positions that a democratic polity can be said to be truly representative of the polity, and therefore constitute a functioning and inclusive democracy. -/- This paper will examine Mouffe’s account of agonistic pluralism. In doing so, it will demonstrate that instead of being a source of instability within the democratic discourse and therefore relegated into the private non-political sphere, passions and values that are constitutive of these subject positions ought to be incorporated into the public political sphere. Mouffe’s rationale for doing so is that it is precisely through their incorporation that citizens will retain their allegiance to the democratic polity. However, as part of this examination, this paper will also draw attention to an under-developed aspect of Mouffe’s account of agonistic democracy, specifically problems regarding both participation and exclusion. Whilst Mouffe does provide a robust counterpoint to both Rawls’ political liberalism and Habermas’ deliberative democracy, it is my contention that she fails to explain adequately what it is that persuades participants to act democratically and adhere to the requirements of agonal respect, nor what should happen when the ethico- political principles of liberty and equality are not accepted. (shrink)

This essay explores how contemporary works of critical theory and deconstruction can challenge preconceptions of the body and embodiments and interrogate their limits, particularly in relation to intertwined foldings of desire, gender, race and sexuality. It aims to suggest that Jacques Derrida’s acute concern for the question of translation might help challenge and re-configure the conventional dichotomy between understandings of the body either as physical/material or as socio-culturally constructed. The authors then analyse the questions of translation and untranslatability in relation (...) to interculturality, and explore their implications for thinking the corporeal and the material. (shrink)

This article pursues the exploration of how contemporary works of deconstruction can challenge preconceptions of the body and embodiments and interrogate their limits, particularly in relation to intertwined foldings of desire, gender, race and sexuality. Through readings of Jacques Derrida and Sarah Kofman, the authors show that deconstruction allows for an understanding of the body or bodies that goes beyond the present body — indexed as human, male, white, able, living body — thus opening up towards the thinking of bodies (...) and corporealities exceeding the limitations of Christian transsubstantiation and of the Eucharist. The deconstructive body is not one of communion; it is one of (self-)interruption, différance and non-presence. It is the other's body — or the body as otherly. The authors then analyse the ethical-political implications of this thinking of another body, one inassimilable by Western metaphysics, and marked by incalculable sexual differences, animality, undecidable life-death, machinicity, monstrosity, and so on. (shrink)

Three thoughts of culture: (1) the logogram: high-level software, the ROM BIOS of civilisation, the ‘best that has ever been thought and written’ (Matthew Arnold), secular theology, social phylum, explicitly ideal rampart against philistine disaggregation and the entropy of commodification, desperate and universal cognitive erection in the face of the massive loss of integrity brought about by capital; (2) the decay of the logogram: low-level shoring-up routine, localised resistance mediated through patchy and fragmented attempts at reconstitution, quotidian custom and regional (...) habit nostalgically valorised at the point of their historical evaporation, instantly fit only for museums, tourists and markets; (3) the death of the logogram: evacuation of the hard-wired constraint of organic programming, reinterfacing of cognition and culture with the machine, technological reprogramming of consciousness driven by intensive economic shifts. (shrink)