The sport of wheelchair rugby is the subject of a recent film Murderball, which tells the story of the apparently intense rivalry between the Canadian and United States men's teams. In part, the story is told through the lives of some of the game's leading players and coaches. Murderball deals with a series of ethical and political questions concerned with conceptions of disability, articulations of sporting bodies, and the value attached to sporting performance. In this paper we offer a critique (...) of Murderball and explore a number of themes including: (1) What can disabled bodies do?; (2) This is not the Special Olympics; and (3) ?Hot? and disabled. We conclude that these themes offer us new intellectual challenges for thinking about the physical education experiences of young disabled people and progression in disability sport. Indeed, we argue that Murderball moves disability issues into new intellectual terrain, thus increasing the ways in which people who work with young people and sport might need to take account of disability. (shrink)

This paper considers the role of physicaleducation researchers within current publicconcerns about body shape and weight. UsingUlrich Beck's notion of `risk' it examines howcertainty about children, obesity, exercise andhealth is produced in the contexts of `expert'knowledge and recontextualised in the academicand professional physical education literature.It is argued that the unquestioning acceptanceof the obesity discourses in physical educationhelps to construct anxieties about the body,which are detrimental to students and silencesalternative ways of thinking and doing physicaleducation.

Ce texte a déjà paru dans la revue October, N° 131, Winter 2010, p. 23–50. Nous remercions Michael Cowan de nous avoir autorisé à le reproduire ici. In September of 1925, readers leafing through Der Kinematograph or Lichtbildbühne or another such film journal might have encountered a strangely familiar sight : in an advertisement for a major exhibition of the German film and photography industries entitled “Kipho” (“Kino und Photo”), which was to be held in Berlin from September 25th (...) to (...) - Cinéma, animation et vidéo – GALERIE – Nouvel article. (shrink)

The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines (...) the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art. (shrink)

Glitches pose expressive challenges for digital motion pictures. These problematics reveal a “material function” that determines their identification and prescribes their semantics on-screen. These issues of materiality are familiar from the ideological critiques of avant-garde film in the 1970s, but have not been explored in relation to the semiotics of digital cinema. Developing an understanding of these problematics shows the complex problematics of using glitches for critical and expressive purposes in motion pictures.

Poststructuralism--as a name for a mode of thinking, a style of philosophizing, a kind of writing--has exercised a profound influence upon contemporary Western thought and the institution of the university. As a French and predominantly Parisian affair, poststructuralism is inseparable from the intellectual milieu of postwar France, a world dominated by Alexandre Kojève's and Jean Hyppolite's interpretations of Hegel, Jacques Lacan's reading of Freud, Gaston Bachelard's epistemology, George Canguilhem's studies of science, and Jean-Paul Sartre's existentialism. It is also inseparable from (...) the structuralist tradition of linguistics based upon the work of Ferdinand de Saussure and Roman Jacobson, and the structuralist interpretations of Claude Lévi-Strauss, Roland Barthes, Louis Althusser, and the early Michel Foucault. Poststructuralism, considered in terms of contemporary cultural history, can be understood as belonging to the broad movement of European formalism, with explicit historical links to both Formalist and Futurist linguistics and poetics, and with aspects of the European avant-garde, especially André Breton's surrealism. Each essay in this unique collection by and for educators is devoted to the work and educational significance of one of ten major poststructuralist philosophers. (shrink)

The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to be called sculpture: narrow (...) corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.”However various these experiments may seem, they began with a single motive: to escape the constraints of the pedestal, the gallery, and finally of art itself. To prevent this new work from becoming just another commodity in the market, artists either produced works so intangible or remote they could not be bought and sold, or disseminated their ideas in so many reproducible forms they could not be monopolized. The political nature of these motives also meant that much of this “sculpture” could be considered “public.” Changing the nature of the art meant changing the role of the audience as well, questioning the purely contemplative role the observer plays in the conventional setting of the museum or gallery. According to Henry Sayre, “As the avant-garde work of art denies its own autonomy, it implicates the audience in its workings.”3 As the aesthetic focus shifts from the object to the experience it provokes, the relationship of the two goes beyond mere implication: the public becomes the sculpture. Artists, like Richard Serra, whose goal is to illuminate the material nature of space and the often tenuous materiality of the observer’s own body, have made “the viewer, in effect, the subject of the work,” to quote Douglas Crimp. Michael North is associate professor of English at the University of California, Los Angeles. He is the author of The Final Sculpture: Public Monuments and Modern Poets and is currently completing a study of the politics of Yeats, Eliot, and Pound. (shrink)

A study of Picasso's status in the art community and his influence on the avant-garde market follows his early year search for a gallery and his monumental rise to fame, noting his popularity among dealers and his commercial strategies.

This chapter presents the two faces of Britain; on the one hand, there is the idyllic representation of it as “an astounding collection of busy cities, towns rife with history, quaint villages, looming castle, cathedrals, mansions and abbeys,” and on the other there is the darker and more realistic view of it as “a cosmopolitan mix of Third and First Worlds, chauffeurs and beggars, the stubbornly traditional and the proudly avant garde.” It also explains how, despite the fact that the (...) national iconography used to present Britain does not fit with actuality, it still persists as a representation of its landscape. (shrink)

This article focuses on the French philosopher Jacques Derrida’s thought in the 1960s. Though the discourse of the ‘death of man’ was regnant among French avant-garde intellectuals, this article argues that Derrida himself has to be described as a humanist at this stage in his career, even if a reluctant one. The case is made through close textual analysis of three of Derrida’s early and seminal works: ‘Cogito and the History of Madness’ (1963), ‘Violence and Metaphysics: An Essay on the (...) Thought of Emmanuel Levinas’ (1964) and ‘The Ends of Man’ (1968). In these texts, Derrida grapples with issues of the subject and the other. They collectively reveal that the Derrida of the 1960s held fast to the view that philosophical thought could neither dispense with the subject nor escape the horizon of humanism. However, Derrida reconceived the human subject with reference to his core concepts of différance and arche-writing, making for an aporetic humanism that deconstructs the binary of humanism–antihumanism. (shrink)

This paper locates its genesis in a small town called Vitebsk in Belorussia which experienced a flowering of creativity and artistic energy that led to significant modernist experimentation in the years 1917–1921. Marc Chagall, returning from the October Revolution took up the position of art commissioner and developed an academy of art that became the laboratory for Russian modernism. Chagall’s Academy, Bakhtin’s Circle, and Malevich’s experiments, artistic group UNOVIS—all in fierce dialogue with one another—made the town of Vitebsk into an (...) artistic crucible in the early twentieth century. We argue that this creative collective transformed creative energies of Russian drama, music, theatre, art, and philosophy in a distinctive contribution to modernism, structuralism and formalism that contributed richly to the social understanding of creativity itself that is so evident across Mikhail Bakhtin’s subsequent body of work, and elsewhere across the world. This paper argues that a consideration of such interplay has much potential for twenty-first century educational philosophy. (shrink)

The opinion of Mr. Justice Francis of the English High Court which denied the parents of Charlie Gard, who had been born with an extremely rare mutation of a genetic disease, the right to take their child to the United States for a proposed experimental treatment occasioned world wide attention including that of the Pope, President Trump, and the US Congress. The case raise anew a debate as old as the foundation of Western medicine on who should decide and (...) on what standard when there is a conflict between a family and the treating physicians over a possible treatment. This paper will explore the different approaches of the British and American courts on the issue and the various proposals from that of John Rawls in his A Theory of Justice to a processed-based approach for resolving such disputes. As carefully crafted as the opinion of Mr Justice Nicholas Francis in the Gard case proved to be, it left commentators unsatisfied. A widespread criticism, captured in an article by Michael Dougherty in The National Review was for the state to ‘get out of the way of the parents trying to act in the best interests of the child’.1 Although he conceded the parents could be adding to the suffering of the child by taking Charlie to America for an experimental therapy and agreed that such a choice ‘may be the wrong decision,’ in Dougherty’s view, it should still be ‘their decision’. Dougherty’s stand was the popular response to the question of ‘Who should decide?’ It fails, however, to propose any rationale for the decision. It provided no norms, no standards and no guidelines for the parents. Their motive could equally well be indifference to the suffering of the child as concern for his well-being. Furthermore, even good, loving parents may make …. (shrink)

Dans le rapport qui s’établit, chez Hegel, entre le crime et la peine, c’est toute la validité du procès dialectique (et de son immanence) qui se joue en tant qu’il ne doit laisser place à aucune irrationalité. Penser la rationalité de la peine signifie, dans ce cadre, penser la continuité entre la volonté qui commet le crime et celle qui, en voulant la sanction, rejoint l’universel. C’est donc bien du point de vue du criminel qu’il faut se placer pour avoir (...) une chance de saisir la vérité du droit pénal. Le crime, en même temps qu’il s’inscrit dans un ordre déjà régi par le droit, manifeste la finitude du droit abstrait, c’est-à-dire son incapacité à fournir un modèle de reconnaissance adéquat aux exigences de l’esprit. Dès lors, le passage à la « moralité»s’impose qui prend en charge la subjectivité agissante dans toute sa complexité et au cours d’un processus où le bien ne lui apparaît plus comme une contrainte. Mais ce passage n’est pas sans ambiguïté : Hegel nous met aussi en garde contre toute moralisation prématurée de la peine (sous la forme de la « vengeance ») : le droit pénal n’accède véritablement à l’effectivité qu’au terme de son institutionnalisation dans la « société civile ». (shrink)

Michael O'Pray _Avant-Garde Film: Forms, Themes and Passions_ London and New York: Wallflower, 2003 ISBN 1 903364 56 6 136 pp.

Since the decidedly bleak beginning of the twenty-first century, art practice has become increasingly politicized. Yet, few sustained defenses of the avant-garde have been put forward. Revolutionary Time and the Avant-Garde is the first book of its kind to look at the legacy of the avant-garde in relation to the deepening crisis of capitalist non-reproduction. An invigorating revitalization of the Frankfurt School legacy, Roberts's book is unique in its penetrating definition and defense of the avant-garde idea, providing a refined conceptual (...) set of tools that critically engages with the most advanced art theorists of our day, such as Hal Foster, Andrew Benjamin, Alain Badiou, Jacques Ranciere, Paolo Virno, Claire Bishop, Michael Hardt, and Toni Negri. (shrink)

In this paper I outline the PAIR account of joint attention as a perceptual-practical, affectively charged intentional relation. I argue that to explain joint attention we need to leave the received understanding of propositions and propositional attitudes and the picture of content connected to it behind and embrace the notions of subject mode and position mode content. I also explore the relation between joint attention and communication.

The American Journal of Bioethics, Volume 12, Issue 7, Page 27-30, July 2012.

Theories of discourse bring to realism new ideas about how knowledge develops and how representations of reality are influenced. We gain an understanding of the conceptual aspect of social life and the processes by which meaning is produced. This collection reflects the growing interest realist critics have shown towards forms of discourse theory and deconstruction. The diverse range of contributions address such issues as the work of Derrida and deconstruction, discourse theory, Eurocentrism and poststructuralism. What unites all of the contributions (...) is a sense that it is essential to provide a realist alternative to the hitherto dominance of social constructionism, hermeneutics and postmodernism, over many of the issues discussed. By developing a realist perspective the different authors attempt to embed discourse within the structured nature of the reality of the world. Realism can situate language, discourse and ideology within context specific, or 'causally efficacious' circumstances. Realism can help to uncover issues of power, representation, and subjectivity and how discursive and other social practices produce real effects. This can help us understand the manner in which social structures are reproduced through various forms of ideology and discourse. And by knowing this, we can start to address questions concerning human emancipation and how the world is to be transformed. (shrink)

Morals from Motives develops a virtue ethics inspired more by Hume and Hutcheson's moral sentimentalism than by recently-influential Aristotelianism. It argues that a reconfigured and expanded "morality of caring" can offer a general account of right and wrong action as well as social justice. Expanding the frontiers of ethics, it goes on to show how a motive-based "pure" virtue theory can also help us to understand the nature of human well-being and practical reason.

The guiding inspiration of this book is the attraction and distance that mark the relation between anthropology and philosophy. This theme is explored through encounters between individual anthropologists and particular regions of philosophy. Several of the most basic concepts of the discipline—including notions of ethics, politics, temporality, self and other, and the nature of human life—are products of a dialogue, both implicit and explicit, between anthropology and philosophy. These philosophical undercurrents in anthropology also speak to the question of what it (...) is to experience our being in a world marked by radical difference and otherness. In The Ground Between, twelve leading anthropologists offer intimate reflections on the influence of particular philosophers on their way of seeing the world, and on what ethnography has taught them about philosophy. Ethnographies of the mundane and the everyday raise fundamental issues that the contributors grapple with in both their lives and their thinking. With directness and honesty, they relate particular philosophers to matters such as how to respond to the suffering of the other, how concepts arise in the give and take of everyday life, and how to be attuned to the world through the senses. Their essays challenge the idea that philosophy is solely the province of professional philosophers, and suggest that certain modalities of being in the world might be construed as ways of doing philosophy. Contributors. João Biehl, Steven C. Caton, Vincent Crapanzano, Veena Das, Didier Fassin, Michael M. J. Fischer, Ghassan Hage, Clara Han, Michael Jackson, Arthur Kleinman, Michael Puett, Bhrigupati Singh. (shrink)

Eldred offers a remedy to the consequences of ancient Greek misconceptions of time that are also entrenched in today’s mathematized physics. Here time is spatialized as the one-dimensionally linear ‘arrow of time’ for the sake of predicting and controlling movement. But such spatialized time distorts the phenomenon of time itself. An alternative, hermeneutic-phenomenological path begins with a pre-spatial concept of time that is genuinely three-dimensional. This paves the way for recasting who we are as humans in belonging, first of all, (...) to the free openness of 3D-temporality. This belonging enables temporally 3D-vision of the psyche that empowers us to see movement at all and reconcile its inherent contradictoriness. We are then also able to conceive ourselves no longer merely as internally cogitating, self-conscious subjects, but as engaged existentially in temporally 3D-interplay, mutually estimating and esteeming who we are. This unpredictable interplay is constrained, however, by being played out in the sociating medium of thingified value, the accumulative movement of thingified value having gained the upper hand in dictating our life-movements as well as our interplay with the earth. (shrink)

Der private, sehr gefahrdete Bucherbestand Friedrich Nietzsches gilt als ein besonders interessantes Beispiel einer Schriftstellerbibliothek des 19. Jahrhunderts.

We ordinarily suppose that there is a difference between having and failing to exercise a rational capacity on the one hand, and lacking a rational capacity altogether on the other. This is crucial for our allocations of responsibility. Someone who has but fails to exercise a capacity is responsible for their failure to exercise their capacity, whereas someone who lacks a capacity altogether is not. However, as Gary Watson pointed out in his seminal essay ’Skepticism about Weakness of Will’, the (...) idea of an unexercised capacity is much more difficult to make sense of than it initially appears. The aim of ’Rational Capacities’ is to provide the needed explication of this idea. (shrink)

This will be the best way of explaining ‘Paris is the lover of Helen’, that is, ‘Paris loves, and by that very fact [et eo ipso] Helen is loved’. Here, therefore, two propositions have been brought together and abbreviated as one. Or, ‘Paris is a lover, and by that very fact Helen is a loved one’.

The Oxford Handbook of Metaphysics offers the most authoritative and compelling guide to this diverse and fertile field of philosophy. Twenty-four of the world's most distinguished specialists provide brand-new essays about 'what there is': what kinds of things there are, and what relations hold among entities falling under various categories. They give the latest word on such topics as identity, modality, time, causation, persons and minds, freedom, and vagueness. The Handbook's unrivaled breadth and depth make it the definitive reference work (...) for students and academics across the philosophical spectrum. (shrink)

This thought provoking book uncovers a crisis in the political imagination, a wide-spread failure to provide the passionate sense of community "in which our need for belonging can be met." Seeking the answers to fundamental questions, Michael Ignatieff writes vividly both about ideas and about the people who tried to live by them—from Augustine to Bosch, from Rosseau to Simone Weil. Incisive and moving, The Needs of Strangers returns philosophy to its proper place, as a guide to the art (...) of being human. (shrink)

Virtually all philosophers agree that for a belief to be epistemically justified, it must satisfy certain conditions. Perhaps it must be supported by evidence. Or perhaps it must be reliably formed. Or perhaps there are some other "good-making" features it must have. But does a belief's justification also require some sort of awareness of its good-making features? The answer to this question has been hotly contested in contemporary epistemology, creating a deep divide among its practitioners. Internalists, who tend to focus (...) on scientific or theoretical beliefs as the ideal, insist that such awareness is required for justification. Externalists, who think children's ordinary beliefs in obvious facts are paradigm cases of justified belief, say it isn't required. Michael Bergmann's book offers a decisive refutation of internalism and a sustained defense of externalism. (shrink)

Bringing together ethnographic exposition with philosophical concepts and arguments and effectively transcending subdisciplinary boundaries between cultural and ...

This article characterizes the varieties of four - dimensionalism and provides a critical overview of the main arguments in support of it.

This wide-ranging book reconstructs this debate and places within their contemporary contexts the rival claims concerning the nature of the cosmos and the ...

Naturphilosophie und Metaphysik scheinen zwei unterschiedliche, ja, sich ausschließende philosophische Ansätze zu sein. Bestimmt man aber Naturphilosophie als Metaphysik der Natur im Sinne des Projekts, im Ausgang von den naturwissenschaftlichen Erkenntnissen zu einer kohärenten und vollständigen Sicht der Welt zu gelangen, ergibt sich eine neue und überraschende Konstellation. Die Bezugnahme auf die Naturwissenschaften verleiht der Metaphysik einerseits die Berechtigung dazu, revisionär zu sein, das heißt, Erkenntnisansprüche, die aus dem alltäglichen Weltverständnis stammen, zu revidieren. Andererseits ist eine solche Metaphysik ebenso hypothetisch (...) wie die Wissenschaften selbst. Michael Esfeld zeigt zunächst, wie man in diesem Rahmen einen wissenschaftlichen Realismus vertreten kann, und begründet dann so umstrittene Thesen wie die eines vierdimensionalen Blockuniversums mit Ereignissen und Prozessen statt Substanzen oder die eines naturphilosophischen Holismus und Strukturenrealismus statt eines Atomismus und rehabilitiert die Idee notwendiger Verbindungen in der Natur. (shrink)

This new book by Michael Slote argues that Western philosophy on the whole has overemphasized rational control and autonomy at the expense of the important countervailing value and virtue of receptivity. Recently the ideas of caring and empathy have received a great deal of philosophical and public attention, but both these notions rest on the deeper and broader value of receptivity, and in From Enlightenment to Receptivity, Slote seeks to show that we need to focus more on receptivity if (...) we are to attain a more balanced sense and understanding of what is important to us. -/- Beginning with a critique of Enlightenment thinking that calls into question its denial of any central role to considerations of emotion and empathy, he goes on to show how a greater emphasis on these factors and on the receptivity that underlies them can give us a more realistic, balanced, and sensitive understanding of our core ethical and epistemological values. This means rejecting post-modernism's blanket rejection of reason and of compelling real values and recognizing, rather, that receptivity should play a major role in how we lead our lives as individuals, in how we relate to nature, in how we acquire knowledge about the world, and in how we relate morally and politically with others. (shrink)