As Raymond Williams famously declared, nature is one of the most complex words in the English language – and, we may confidently predict, its Germanic relatives including Dutch. The workshop that took place in June 2007 in the Netherlands, from which this volume is derived, was based on an earlier program exploring connections between our concepts of nature and related concepts of science and religion. Though one may not immediately expect these three realms to be interrelated, countless examples suggest otherwise.

An experience of helplessness during the production of a collective autobiographical narrative offers an opportunity to explore points of convergence between Adriana Cavarero's postural philosophy and Bracha Lichtenberg Ettinger's matrixial borderlinking. The narrative is treated as a live scene that enfolds the movement of the drive conceptualized in such a way as to avoid the prioritization of death over life. Five successive moves, inspired by Ettinger's rotation of the phallic prism, illuminate affinities between the two thinkers. The first rotation explores (...) the matrixial and relational qualities that compose the scene. The second rotation approaches death from a notional beginning, prioritizing the presence of the mother and her assymmetrical relationship to the infant. The third rotation emphasizes the transformational character of Ettinger's matrixial movement and border-crossing, especially when examined in conjunction with Cavarero's maternal inclination. In the fourth rotation we show how inclination in Lacanian psychoanalysis is linked to the disappearance of the mother from the scene. The introduction of the mother disrupts the Lacanian logic with the possibility of a beginning just as immanent as desire and lack. Movement, qua embrace and unity-disunity, becomes an indispensable component of feminist ontology that captures the immanence of sharing in the matrixial-maternal plane. (shrink)

The dancer is not a woman dancing, for these juxtaposed reasons; that is not a woman, but a metaphor summing up one of the elementary aspects of our form: knife, goblet, flower etc., and that she is not dancing, but suggesting through the miracle of bends and leaps, a kind of corporal writing, what it would take pages of prose, dialogue and description to express. In this article I examine the problematic position Jacques Rancière holds in his political philosophy with (...) regard to ontology. Rancière famously sees politics as the redistribution of the sensible, as a moment in which those who have no part in the body politic, who are not defined as speaking beings, intervene and make themselves counted and... (shrink)