Photography’s unique relationship with time, the idea of fixing an image in time has been altered with the invasion of digital technology. How revolutionary is the idea of the digital? What essentially differentiates the idea of a stilled moment in time with its potentiality to reverberate and pulsate within the same frame? From the capturing to the processing and printing, images are subjected to open-ended alterity. Discussing this through the work of Belgian artist David Claerbout and with reference to Simondon’s (...) L’individu et sa genese physico-biologique and Agamben’s What is an apparatus the notion of diffracted and shimmering time will be explored, one that is conditioned and at the same time, conditions the notion of subjectivity. (shrink)

Rhythmic analysis in this instance will allow us to consider the advent not in representational terms, but rather in terms of how the affect of this event is communicated and experienced. Digital technology can allow for us to consider the idea of a “pulsating time” a time that shimmers and reverberates in digitally coded algorithms that translate light into strings of mathematics. Damian Sutton has written on the subject of the “immanent” image and digital technolgies, Gilbert Simondon on the mode (...) of existence of technological objects whilst Georges Didi Huberman has brought to the forefront an understanding or reading of images through “responsivity”. Drawing from the above the idea of pulsating time as event, contained yet not stilled, within the photographic frame will be considered. (shrink)

Allow me to begin this article by asking the reader to visualize a brief yet disturbing scene. Assuming that you are sitting down whilst reading this, I ask you to imagine, if you will, that about a dozen paces from your seat, you see a young couple – an attractive young woman and a well-built young man. They appear to be in love, they are tender enough with one another, and are engaged in light conversation. Then, all of a sudden (...) – and it is very sudden – the man pins the woman down on the bed and starts throttling her. She struggles. She writhes. She tries to scream. They are only a dozen paces from where you are sitting, and you – do nothing. You do not rush to help her, though you could do so in a matter of seconds. You do not call out for help, nor do you look round to see if there are others who could assist, nor do you take and your phone and call the police. She gasps in vain for one last breath, and as the life drains out of her body, you have one final chance to get up and save her. A moment later, the young woman lies lifeless, and you have not even stirred in your seat. (shrink)

‘Beckett shrugs his shoulders at the possibility of philosophy today.’ So claims Theodor Adorno in his rather abortive ‘Versuch, das Endspiel zu verstehen.’1 And yet, perhaps because of this very act of shoulder shrugging, the works of Samuel Beckett seem to have fired the imaginations of a great many philosophers. Discussions of Beckett feature prominently in the writings of such thinkers as Gilles Deleuze, Maurice Blanchot, Alain Badiou, and, of course, Theodor Adorno, and current work in Beckett studies has been (...) dominated by contemplating, clarifying, and extrapolating these philosophical readings.2 A recent book by Richard Lane, entitled Beckett and Philosophy, is divided into a section mapping out Beckett’s significance for an array of French philosophers, and another section mapping out the same territory in German philosophy. (shrink)

Autoethnography offers leadership study opportunities as it allows the texts to move between the self of the subject and the researcher who can themselves be a co-researched subject. In this sense texts moving between 'selves' represents a hermeneutical concern ; that is it is possible to see the self as a text, in a context, and moving between selves, although not to gain access to the ‘original intent’ of the author; the text in this instance is in ‘our’ hands and (...) as such transforming from the author in a new direction. As such, in this domain: “all understanding is interpretation, and all interpretation takes place in the medium of language which would allow the object to come into words and yet is at the same time the interpreter’s own language”. (shrink)

The Deleuzian approach to cinema suggests that it is possible to philosophise us-ing non-traditional materials and methods. With this in mind, our paper will explore ways in which Spinozist themes might be addressed using strategies that supplement writing and discussion. Artworks that embody the notion of a relational field provide an interesting focus for reflecting upon the symbiosis between content, form and production that charac-terises much artistic practice. A number of installations will be considered, and their power to engage with (...) Spinozist thought will be examined. The works in question are loosely concerned with the broadcast of information, whilst the character of each transmission is diverse. (shrink)