Kracauer’s rehabilitation in the 1990s sidelined his Marxist framework of the middle-to-late Weimar era in favour of the then still dominant if decaying paradigms of poststructuralism and postmodernism. It was also silent on the relationship between Kant and Marxism in Kracauer’s work. This essay addresses these weaknesses by arguing that Kracauer transcoded the structure of Kant’s ‘problematic’ around reification into a Marxist framework in the middle-to-late Weimar period. The essay considers how Kracauer conceived the mass ornament as a site of (...) reification and critical pedagogy. It explores his strategies of de-reification and their overlap with Walter Benjamin and the ruptures and continuities between the radical Weimar work and his later Theory of Film. The essay argues that the Theory of Film can be better understood as a transcoding of Kant’s philosophy of the aesthetic in the third Critique into the film camera itself, although the Marxian framework of the Weimar period is now considerably attenuated. (shrink)

Modern Western thought and culture have envisaged their task in terms of a metaphorics, a metaphysics and a technics of 'enlightenment'. However, the ethical and environmental implications of this determination to dispel all shadows have become increasingly pernicious as modernity both extends and alters the conceptualization and employment of (a now artificial) light as a tool of discovery and control. Drawing on the work of Foucault and Benjamin amongst others, this paper seeks to illustrate, through a critical ethopoietics, the 'speculative (...) aporia' of contemporary society from the perspective of radical ecology. The world does not just reflect our own instrumental interests: it has an elusive, shadowy existence of its own that can impinge upon our ethical perceptions. (shrink)

The article seeks to develop a new conceptual framework suitable for analysing the ageing processes of objects in modern culture. The basic intuition is that object experience cannot be analysed separately from collective participation. The article focuses on the question of the ‘timeless’ nature of modernist design and seeks to understand why modernist objects age more slowly than other objects. First, inspired by the late Durkheim’s account of symbolism, I turn to the experiential effects of collective embeddedness. Second, I enter (...) the field of architectural practices and architectural theory. Visiting early modernist ideologue Adolf Loos, I seek to understand the modernist attitude as a direct response to experiences of the acceleration of ageing processes characteristic of modern culture. I then try to show how Loos’s explicit awareness of the collective dimension is ignored by the subsequent modernist movement and by architectural theory. Finally, I try to assess the consequences of this neglect. (shrink)

This paper considers and evaluates Jeffrey Alexander’s strong program in cultural sociology, which represents an exercise in paradigm formation and an ambitious attempt to refound American sociology along interpretive lines. Cultural sociology is assessed according to four axes, namely its social constructivist epistemology, culturalizing methodology, analytical realism, and internal and external positioning. In addition to discussing the accomplishments and limitations of cultural sociology in all these areas, the paper indicates ways to strengthen it by setting it in conversation with other (...) and more explicitly critical currents of thought. (shrink)

Both Richard Rorty and Siegfried Kracauer considered the question of self-redemption in an ideologically shelterless age; both thinkers realized that the spontaneous state of daily life is beguilin...

Metaphors help us understand a concept by resorting to the imaginary because it is sometimes difficult to do so through the use of words alone. Thinkers have made use of metaphors to not only describe ‘falling in love’, ‘the pain of losing someone dear to us’, but also to describe particular concepts both in arts and sciences. In fact, the use of metaphors in some disciplines, particularly the sciences, is now regarded as something essential for the development of the field. (...) We note that influential philosophers of education, such as Martin Buber, Paulo Freire, Michael Apple, Gert Biesta and Ilan Gur-Ze’ev have also made use of metaphors to discuss education and specific issues in educational contexts. In this article, we do two things: we discuss the methodological importance of metaphors in helping us make better sense of concepts and particular problems; building on this methodological discussion, we critically discuss the problems posed by the current processes of ‘marketisation’ and ‘learnification’ in education. We conclude by arguing that metaphors do not provide us with ultimate answers to the problems we face; rather, they help us unveil a diversity of novel perspectives and a world of new possibilities. (shrink)

In this article I consider the normative and axiological dimension of Simmel’s thought. Building on previous interpretations, I argue that although Simmel cannot be interpreted as a systematic normative theorist, the issue of values and the normative standpoint can nevertheless be traced in various aspects of his multifarious work. This interpretive turn attempts to link Simmel’s obscure theory of value with his epistemological relationism. Relationism may offer a counterweight to Simmel’s value-pluralism, since it points to normative elements (e.g. internal teleology, (...) justice) that can contribute to the reconciliation between incommensurablity of forms and totality. Axiological and normative concerns (of a Hegelian source) survive also in his metaphysics of life, pointing beyond a merely Bergsonian and conservative Lebensphilosophie. I conclude with some thoughts on how this normative rethinking of Simmel’s thought can contribute towards more adequate appreciations of Simmel’s overall theory. (shrink)

City-dwellers who are threatened by the risk of natural or social disasters are in search of safer houses. Each attempt to satisfy their need for safety, however, turns into another version of the security problem; so much so that, escaping from risk itself turns into different risks. The film 10 to 11 focuses on the socio-spatial conflict between a stranger and his neighbours who are anxious about a possible earthquake risk in Istanbul. Mithat, the protagonist of the film, is a (...) stranger not only to place but essentially to time. He lives within time and understands place as an essential means loaded by temporal experiences and memories. This paper deals with the multiple dichotomies between time and memory, between risk and fear, between aesthetics and security, and between attachment and profit in the context of urban transformation. The stranger, who is analysed for the first time as a temporal being in this paper, is discussed using Zygmunt Bauman’s concepts of uncertainty and liquid modernity, Richard Sennett’s capitalism, Ulrich Beck’s risk society, Frank Furedi’s culture of fear, Stephen Bertman’s hurried culture, Elias Canetti’s death, Giorgio Agamben’s forgotten and gone, Svetlana Boym’s nostalgia, and Halbwachs, Assmann, Connerton, and Arendt’s memory, as well as around the temporal spaces of museums, bibliopoles, antique shops, and cemeteries. (shrink)

ArgumentDespite the fact that “empathy” is often simply used as a translation ofEinfühlung, the two terms have distinct meanings and distinct disciplinary affiliations. This text considers the manner in which the moving image invites spatial forms of engagement akin to those described both by historical accounts ofEinfühlung, a form of engagement that pertains not only to the activities of humans represented within images, but also to the aesthetic qualities of images in a more abstract sense and to the forms to (...) be found there. (shrink)

From the perspective of the television series Breaking Bad (2008–2013), Walter White, its antihero, is not just an “angry middle-aged white guy”. He represents the repressed rage of countless ill-used Ph.Ds. This is why “he is the danger.” The cultural moment of Breaking Bad may serve for us in Siegfried Kracauer’s term as a “close-up shot or establishing shot.” The series is an index of Kracauer’s “law of levels.” White has lived his life according to what he thought was standard (...) and decent conduct. His life has been adequate. He echoes Tolstoy’s Ivan Ilyich whose life “was most ordinary and therefore most terrible.” White also recalls Stavrogin from Dostoevsky’s The Possessed. Stavrogin condemns himself because he can only have been satisfied by himself (in both senses). He is more Mephistopheles than Faust; he is never out of hell because he will not accept the possibility of anything outside himself. Breaking Bad also reifies Carlo Ginzburg’s “estrangement.” The screens that we carry with us transmit endless meaninglessness. We are consumed by consumerism. Therefore, Walter White is not an antihero: He is the perfect hero for a world in which the marketplace alone determines value. (shrink)

This article analyses the connections between forms of solitary automobile habitation and the use of mobile sound technologies in automobiles: the radio, cassette, sound system and mobile phone. It does this through an empirically informed analysis of automobile use. In doing so it re-evaluates our understanding of the occupation of space and place, arguing that traditional concepts of urban space have underestimated the active role that the users of these communication technologies might have in transforming the meaning of these spaces (...) as they pass through them. The article points to the powerful, and potentially problematic, role that sound technologies play in the daily experience of moving through the city. (shrink)

In the 1990s and early 2000s, “cool’ received substantial scholarly attention, some influential studies claiming that cool was becoming the dominant ethic in contemporary consumer societies, with i...