Este artículo parte de mi propio archivo de investigación para revisar ‒desde una perspectiva etnográfica‒ experiencias en y con archivos estatales locales y memorias mapuches vinculadas con políticas de forestación implementados durante el siglo XX en El Hoyo ‒Comarca Andina del Paralelo 42°, Chubut, Patagonia Argentina‒. Me interesa discutir no tanto el contenido referencial de los documentos, sino ciertos lenguajes del archivo que considero que son pistas claves para comprender cómo operan lógicas de poder y entramados de funcionamiento de (...) las instituciones locales; aunque también donde observar subjetividades y tiempos de desacuerdos y desbordes respecto a lo que ha sido y/o sigue siendo instituido. Me refiero, particularmente, al lenguaje temporal y los tempos de dos archivos estatales provinciales. Me detengo a analizar ese lenguaje del archivo como clave que expresa el campo de fuerzas que, en cada momento, constituyó a los mismos; y reviso su devenir en articulación con memorias de comunidades mapuches de la región que fueron a recuperar sus espacios territoriales. (shrink)

Este artículo parte de mi propio archivo de investigación para revisar ‒desde una perspectiva etnográfica‒ experiencias en y con archivos estatales locales y memorias mapuches vinculadas con políticas de forestación implementados durante el siglo XX en El Hoyo ‒Comarca Andina del Paralelo 42°, Chubut, Patagonia Argentina‒. Me interesa discutir no tanto el contenido referencial de los documentos, sino ciertos lenguajes del archivo que considero que son pistas claves para comprender cómo operan lógicas de poder y entramados de funcionamiento de (...) las instituciones locales; aunque también donde observar subjetividades y tiempos de desacuerdos y desbordes respecto a lo que ha sido y/o sigue siendo instituido. Me refiero, particularmente, al lenguaje temporal y los tempos de dos archivos estatales provinciales. Me detengo a analizar ese lenguaje del archivo como clave que expresa el campo de fuerzas que, en cada momento, constituyó a los mismos; y reviso su devenir en articulación con memorias de comunidades mapuches de la región que fueron a recuperar sus espacios territoriales. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

La idea de utopía tiene una larga historia en América y un vasto conjunto de significados. En este trabajo se interpreta a las utopías a partir de un enfoque utopológico basado en las reflexiones principalmente de M. R. Ramírez Fierro, A. A. Roig, H. Cerutti Guldberg y E. Fernández Nadal. Desde ese marco teórico se analiza una utopía concreta contemporánea de la Patagonia argentina. Se trata del barrio intercultural proyectado en San Martín de los Andes por la comunidad mapuche “Curruhuinca” (...) y la Asociación Vecinos Sin Techo de esa ciudad. Aquí, describo el carácter utópico de dicho proyecto tomando como categorías de análisis los conceptos de función y tensión utópicas en relación a los distintos aspectos que ponen en juego la interculturalidad y la emergencia de nuevas subjetividades. The idea of utopia has a long history in America and a vast array of meanings. This paper interprets utopias from a utopological approach primarily based on the reflections of M. R. Ramirez Fierro, A. A. Roig, H. Cerutti Guldberg and E. Fernández Nadal. From this theoretical framework a contemporary concrete utopia of Argentine Patagonia is analyzed. It is an intercultural neighborhood in San Martin de los Andes projected by the Mapuche community “Curruhuinca” and the Homeless Neighbors Association of that city. Here, I describe the utopian character of the project taking the concepts of function and utopian tension as categories of analysis in relation to the different aspects that involve interculturality and the emergence of new subjectivities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cartographic Memory: Social Movement Activism and the Production of Space by Juan HerreraAída R. GuhlincozziCartographic Memory: Social Movement Activism and the Production of Spaceby juan herrera Durham, N.C.: Duke University Press, 2022Juan Herrera’s historical recounting of Latino activism in Fruitvale, California, in Cartographic Memory: Social Movement Activism and the Production of Space is stellar. In fact, the case focused on by Herrera as an example of activism producing (...) space and creating change in the name of social justice is not the only top-quality contribution to Latinx geographies to be found in this book. Herrera’s conceptualization of “cartographic memory” builds on the intertwining of Latinx writers and historians with traditional spatial thought from the history of geography. His definition of “cartographic memory” as a “political remaking of urban geography and therefore a selective mapping” adds to the broader oeuvre of activism and space coming out in recent years (14).The geographic location for Cartographic Memory comes from the author’s long history of working in and around Fruitvale as both a volunteer and community member. As a new resident of the Oakland area, Herrera mistakenly navigated himself to Fruitvale, where he found the elements of the place clearly speaking to a cultural aesthetic of Latin-idad. Intrigued, Herrera began volunteering in the area, and learned more of the long activist history of the space. That activist history, Herrera argues, has long been under-studied, or even forgotten, in Chicano activist history, and merits recognition. Herrera’s efforts with [End Page 139] this book go a long way to gathering together that spatial history and reconstructing it for the reader through interviews and oral histories with numerous activists, extensive archival research, and ethnography focusing on the 1960s and 1970s Mexican-American activist mobilization in support of the Chicano movement.The power of the focus on Fruitvale must be recognized, as Herrera also makes space for intently peeling apart the layers of nonprofit funding, social movements, and community-building and support. The chapter, “Revolution Interrupted,” is about the funding situation of the Unity Council in Fruitvale and how the funding structure was constructed over time in the context of the political and economic opportunities of the 1960s. It speaks to how this had a profound effect on the organizers and community given the shift from grassroots to institutional funding. This chapter opens the book with a focus on the national scope of funding opportunities for organizations in the 1960s that focused on race and ethnicity. Through this lens are explored the effects of local political actions—such as the 1969 speech by San Antonio-based Mexican American Youth Organization (MAYO) leader Jose Angel Gutierrez—on funding at the federal level. Because of the perceived militancy of these remarks, the U.S. Congress became concerned, and eventually passed the 1969 Tax Reform bill, limiting the types of projects that could be funded philanthropically. This type of multi-scale understanding of Fruitvale activism is threaded throughout the entire book, from chapter 1, “Making Place,” in which Herrera summarizes activist perspectives on Fruitvale as emphasizing “not only how the neighborhood itself [produced] a geography of activism but also how it was interconnected to other places of struggle throughout the United States” (emphasis in original; 33).Herrera also navigates the interactions of race, ethnicity, and space, tracing how coalitions, influences on political efforts, and collaboration took place throughout Fruitvale and Oakland during this period. His second chapter, “The Other Minority,” identifies where Black Panther Party-related work occurred; the marketization that began to occur of a non-threatening, non-Black “Latino” identity; the effect that this had on activist efforts; and more. Importantly, in this chapter Herrera’s interviews reveal that part of the interest in these coalitions came from the clear organizational success Black activists had achieved in their [End Page 140] work, leading Mexican American activists in Oakland to pursue similar efforts. One interviewee, Herman Gallegos, a prominent activist at the time, spoke of recalling an event where Black men would gather monthly to focus on leadership. Thinking highly of them, he says that he recognized them as future “mayors, judges... [but] kept thinking... (shrink)

Because of its unprecedented speed and scale, urbanization in China during the 1990s is one of the most representative fields in which to explore compressed modernity considering East Asian experiences. This article focuses on a collective litigation including 10,357 people suing the local government for the infringements on their property rights and citizenship during that period of urbanization. To make this massive movement possible under an authoritarian state, a new type of state-individual relationship was created, and a (...) selection mechanism applied to the traditional, subordinate state-individual relationship and the modern, egalitarian state-individual relationship was constructed by the activists. The grassroots development of a strategic use of the law is the key to understanding how this selection mechanism was created. Activists distinguished multiple facets of “law”—literal law, symbolic law and practical law–to conceptualize the new egalitarian relationship through self-empowerment, in order to set the necessary preconditions for protesting, by segmenting the traditional state and to mobilize the network of participation by drawing upon the socialist memory of the “movement to popularize legal knowledge”. The selection mechanism described in this article could be considered as the response from individuals to the state during a time of transformation and shows the implication of temporality in the push and pull between individual rights and government overall control connected to the new and old systems. Tensions exist in this selection mechanism, and a paradox lies in the fact that the struggle for this egalitarian relationship should be based on the precondition that the subordinate relationship be internalized. By analyzing this complex process, this article points to China’s special social-historical process as it heads into modernity in an incremental and continuous way within such a short and compressed period of time, and also tackles the theoretical discussion of individualization from an East Asian perspective. (shrink)

continent. 1.2 (2011): 78-91. This article consists of three parts. First, I will review the major themes of Quentin Meillassoux’s After Finitude . Since some of my readers will have read this book and others not, I will try to strike a balance between clear summary and fresh critique. Second, I discuss an unpublished book by Meillassoux unfamiliar to all readers of this article, except those scant few that may have gone digging in the microfilm archives of the École normale (...) supérieure. The book in question is Meillassoux’s revised doctoral dissertation L’Inexistence divine (or The Divine Inexistence ), with its seemingly bizarre vision of a God who does not yet exist but might exist in the future. Without literally accepting this view, I will claim that it is philosophically interesting in ways that even a hardened sceptic might be able to appreciate. Third and finally, I will speculate on the possible future of Meillassoux’s speculative materialism itself. And here I mean its future development not by Meillassoux, but by those readers who might be inspired by his book. Plato could never have predicted the emergence of Aristotle’s philosophy, despite the obvious debt of the latter to the former. Nor could Descartes have predicted Spinoza and Leibniz, nor Kant the German Idealists, and neither could Husserl in 1901 have foreseen the later emergence of Heidegger. How are the works of interesting philosophers transformed by later thinkers of comparable importance? While it may seem that there are countless ways to do this, I think there are only two basic ways in which this happens: you can radicalize your predecessors, or you can reverse them. I will close this article with a few words about these two methods, and try to imagine how Meillassoux might be radicalized or reversed by some future admirer. My view is that the more important thinkers are, the easier they are to radicalize or reverse. This helps explain why the great philosophers of the West have so often appeared in clusters, succeeding one another at relatively brief intervals during periods of especial ferment. 1. After Finitude After Finitude is unusually short for such an influential book of philosophy: running to just 178 pages in the original French, and an even more compact 128 pages in the English version, despite the introduction of roughly eight pages of new material for the English edition. Rather than summarizing Meillassoux’s book in the order he intended, I will focus on six points that strike me as the pillars of his debut book. Along the way, I will offer a few criticisms as well. The first pillar of the book is Meillassoux’s own term “correlationism.”1 Although he introduces this term as the name for an enemy, it is striking that Meillassoux remains impressed by correlationism much more than his fellow speculative realists are. This continued appreciation for his great enemy influences the shape of his own ontology. Is there a world outside our thinking of it, or does the world consist entirely in being thought? Traditionally, this dispute between realism and idealism has been dismissed in continental philosophy as a “pseudo-problem,” in a strategy pioneered by Husserl and extended by Heidegger. We cannot be realists, since following Kant we have no direct access to things-in-themselves. But neither are we idealists, since the human being is always already outside itself, aiming at objects in intentional experience, deeply engaged with practical implements, or stationed in some particular world-disclosing mood. The centuries-old dispute between realism and idealism is dissolved by saying that we cannot think either real or ideal in isolation from the other. There is neither human without world nor world without human, but only a primordial correlation or rapport between the two. This is what “correlationism” means: philosophy trapped in a permanent meditation on the human-world correlate, trying to find the best model of the correlate: is it language, intentionality, embodiment, or some other form of correlation between human and world? Among other problems, this generates some friction between philosophy and the literal meaning of science. When cosmologists say that the universe originated 13.5 billion years ago, they do not mean “13.5 billion years ago for us ,” but literally 13.5 billion years ago, well before conscious life existed, and thus at a time when there was no such thing as a correlate. Meillassoux also coins the term “ancestrality” (10) for the reality that predated the correlate, and later expands this term to “dia-chronicity,” (112) to refer to events occurring after the extinction of human beings no less than to those occurring before we existed. Up to this point, Meillassoux’s focus on ancestral entities existing prior to consciousness might seem like a straightforward realist who wants to unmask correlationism as just another form of idealism. Yet Meillassoux also admires the correlationist maneuver, which can obviously be traced back to Kant. Unlike a thinker such as Whitehead, Meillassoux feels no nostalgia for the pre-critical realism that came before Kant: “we cannot but be heirs of Kantianism,” he says (29). What impresses Meillassoux about correlationism is something both simple and familiar. If we attempt to think a tree outside thought, this is itself a thought . Any form of realism which thinks it can simply and directly address the world the way it is fails to escape the correlational circle, since the attempt to think something outside of thought is itself nothing other than a thought, and thereby collapses back into the very human-world correlate that it pretends to escape. For Meillassoux this step, suggested by Kant but first refined by the ensuing figures of German Idealism, marks decisive forward progress in the history of philosophy that must not be abolished. Any attempt to break free from the correlate must first acknowledge its mighty intellectual power. Realist though he may seem, Meillassoux’s works are filled with praise of such figures as Fichte and Hegel, not of so-called “naïve realists.” It is also the case that for Meillassoux, not all correlationisms are the same. The second pillar of his book is a distinction between various positions that I have termed “Meillassoux’s Spectrum,” though of course he is never so immodest as to name it after himself. He distinguishes between at least six different possible positions, and perhaps we could add even subtler variations if we wished. But in its simplest form, Meillassoux’s Spectrum allows for just four basic outlooks on the question of realism vs. anti-realism. Three of these are easy to understand, since we have already been discussing them. At one extreme is so-called “naïve realism,” which holds that a world exists outside the mind, and that we can know this world. Meillassoux rejects this naïve realism as having been overthrown by Kant’s critical philosophy. At the other extreme is subjective idealism, in which nothing exists outside the mind. For to think a dog outside thought immediately turns it into a thought, and therefore there cannot be anything outside; the very notion is meaningless. In between these two is what we have called correlationism. And here comes a crucial moment for Meillassoux, since he distinguishes between the two forms of “weak” and “strong” correlationism, and chooses the strong form as the launching pad for his own philosophy. Weak correlationism is easy to explain, since we all know it from the philosophy of Kant. The things-in-themselves can be thought but not known. They certainly must exist, since there cannot be appearances without something that appears. And we can think about them, which idealism holds to be impossible. They are simply unknowable due to the finitude of human thought. Strong correlationism is the new position introduced by Meillassoux (though he sees it at work in numerous twentieth century thinkers), midway between weak correlationism and subjective idealism. The major difference between the three positions is as follows. Weak correlationism says: “The things-in-themselves exist, but we cannot know them.” The subjective idealist says: “This is a contradiction in terms, since when we think the things-in-themselves, we already turn them into thoughts.” But the strong correlationist says: “Just because ‘things-in-themselves’ is a meaningless notion does not mean that they cannot exist. No one has ever traveled to the world-in-itself and come back to make a report on it. Thus, the fact that we cannot think things-in-themselves without contradiction does not prove that they do not exist anyway. There may be things-in-themselves, we simply are not capable of thinking them without contradiction form within the correlational circle.” This step is crucial for Meillassoux, since strong correlationism is the position he attempts to radicalize into his own new standpoint: speculative materialism. As I see it, this step of the argument fails. Strong correlationism cannot avoid collapsing into subjective idealism, since the statements of the strong correlationist are rendered meaningless from within. All three of the other positions in the Spectrum make perfectly good sense even for those who disagree with them. The naïve realist says that things-in-themselves exist and we can know them; the meaning of this statement is clear. The weak correlationist can say that things-in-themselves exist but lie forever beyond our grasp; this too makes perfect sense, even though the German Idealists try to show a contradiction at work here. We can also understand the claim of the subjective idealist that to think anything outside thought turns it into a thought, and that for this reason we cannot think the unthought. The strong correlationist, alone among the four, speaks nonsense . This person says “I cannot think the unthought without turning it into a thought, and yet the unthought might exist anyway.” But notice that the final phrase “the unthought might exist anyway” is fruitless for this purpose. For we have already heard that to think any unthought turns it into a thought. But now the strong correlationist wants to do two incompatible things simultaneously with this unthought. On the one hand, he neutralizes the unthought by showing that it instantly changes into just another thought. But on the other hand, he wants to appeal to the unthought as a haunting residue that might exist outside thought, thereby undercutting the absolute status of the human-world correlate found in idealism. But this is impossible. If you accept the argument that thinking the unthought turns it into a thought, you cannot also add “but maybe there is something outside that prevents this conversion from being absolutely true,” because this “something outside” is immediately converted into nothing but a thought for us. In short, Meillassoux here seems to be offering a kind of Zen koan: his “strong correlationism” is reminiscent of the gateless gate, or the sound of one hand clapping, or the command to punch Hegel in the jaw when meeting him on the road. We cannot at the same time both destroy the realist challenge of the things-in-themselves in order to undercut realism and reintroduce that very realist sense in order to undercut idealism. In a world where everything is instantly converted into thought, we cannot claim that there might be something extra-mental anyway, because this “might be something” is itself converted into a thought by the same rules that condemned dogs, trees, and houses to the idealist prison. This brings us to the third pillar of Meillassoux’s argument, which is the key to all the rest: the necessity of contingency. His strategy is to transform our supposed ignorance of things-in-themselves into an absolute knowledge that they exist without reason, and that the laws of nature can change at any time for no reason at all. In this way the cautious agnosticism of Kantian philosophies is avoided, but so is the collapse of reality into thought as found in German Idealism. Meillassoux does try to prove the existence of things-in-themselves existing outside thought; he simply holds that they must be proven after passing through the rigors of the correlationist challenge, not just arbitrarily decreed to exist in the manner of naïve realism. As he puts it, “Everything could actually collapse: from trees to stars, from stars to laws, from physical laws to logical laws; and this not by virtue of some superior law whereby everything is destined to perish, but by virtue of the absence of any superior law capable of preserving anything, no matter what, from perishing” (53). If idealism thinks that the human-world correlate is absolute, for Meillassoux it is the facticity of the correlate that is absolute. He tries to show this with a nice brief dialogue between five separate characters (55-59) which is covered in detail in my forthcoming book,2 but which I will simplify here for reasons of time. In this simplified version, we first imagine a dogmatic realist arguing with a dogmatic idealist. The realist says that we can know the truth about the things-in-themselves; the idealist counters that we can only the truth about thought, since all statements about reality must be turned into statements concerning our thoughts about reality. Here the correlationist enters and proclaims that both of these positions are equally dogmatic. For although we have access to nothing but thoughts, we cannot be sure that these thoughts are all that exist; there could be a reality outside thought, there is simply no way to know for sure. And this latter position is the one that Meillassoux attempts to transform from an agnostic, skeptical point into an ontological claim about the contingency of everything. Consider it this way. How does the correlationist defeat the idealist? The idealist holds that the existence of anything outside thought is impossible. The correlationist, by contrast, holds that something might exist outside the human-world correlate. But this “something might” has to be an absolute possibility. It cannot mean that “something outside thought might exist for thought ,” because that is what the idealist already says. No, the correlationist must mean that something might exist outside thought quite independently of thought. In other words, the correlationist says that idealism might be wrong, and this means it is absolutely true that idealism might be wrong. Thus, correlationism is no longer just a skeptical position. It holds that all the possibilities of the world are absolute possibilities. We have absolute knowledge that any of the possibilities about the existence or non-existence of things-in-themselves might be true, and this means that correlationism flips into Meillassoux’s own position: speculative materialism. As Meillassoux sees it, there are only two options here. Option A is to absolutize the human-world correlate, which is what the idealist does: there absolutely cannot be anything outside thought. Option B, by contrast, is to absolutize the facticity of the correlate: its character of simply being given to us, without any inherent necessity. The correlationist cannot have it both ways by saying: “there absolutely might be something outside thought, yet maybe this is absolutely impossible.” In other words, once we escape dogmatism we can only be idealists or speculative materialists, not correlationists. The human-world correlate is merely a fact, not an absolute necessity. But this facticity itself cannot be merely factical: it must be absolute. Here Meillassoux coins the French neologism factualité , which has been suitably translated into the English neologism “factiality.” (7, 122-3) Factialty means that for everything that exists, it is absolutely possible that it might be otherwise, not just that we cannot know whether or not it might be otherwise. Just as Kant transformed philosophy into a meditation on the categories governing human finitude, Meillassoux wishes to turn philosophy into a meditation on the necessary conditions of factiality, which he calls “figures”—a new technical term for him. (80) One such figure is that the law of non-contradiction must be true, and for an unusual reason. Since everything is proven to be contingent, nothing that exists can be contradictory, for whatever is contradictory has no opposite into which it might be transformed, and thus contingency would be impossible.3 Another such figure is that there must be something rather than nothing: for since contingency exists, something must exist in order to be contingent. It is a daring high-wire act, one that sacrifices realism to the correlational circle in order to rebuild it from out of its own ashes. Some might conclude that the lack of reason in things is a byproduct of the ignorance of finite humans, Meillassoux is making precisely the opposite point. For in fact, the doctrine of finitude usually leads directly to belief in a hidden reason. The fact that it lies beyond human comprehension merely increases our belief in this arbitrarily chosen concealed ground. By defending anew the concept of absolute knowledge Meillassoux evacuates the world of everything hidden. The reason for things having no reason is not that the reason is hidden, but that no reason exists. Thus, even while insisting on the necessity of non-contradiction, he rejects the other Leibnizian principle: sufficient reason. Everything simply is what it is, in purely immanent form, without deeply hidden causes. Or as Meillassoux puts it: “There is nothing beneath or beyond the manifest gratuitousness of the given—nothing but the limitless and lawless power of its destruction, emergence, or persistence” (63).The world is a “hyper-chaos”(64). But this is not the same thing as flux. For the chaos of the world is such that stability might occur just as easily as constant, turbulent change. Let’s now digress a bit, and return to the question of ancestrality, which Meillassoux transforms later in the book into “dia-chronicity.” Correlationism holds that all talk of a world outside the correlate is immediately recuperated by the correlate. The phrase “13.5 billion years ago” becomes “13.5 billion years ago for us ,” and the phrase “the universe following the extinction of humans” becomes “the universe following the extinction of humans for humans .” But notice that whether we talk about the world before or after humans, in both cases it is time that is used to challenge the correlate. Meillassoux has no interest in challenges that might be posed by space. For example, what about a vase in a lonely country house that topples to the floor and smashes when no one is there to watch it? Isn’t this also a challenge to correlationism, no less than the Big Bang or the heat death of the universe long after humans have vanished? In an eight-page supplement to the English translation of After Finitude ,4 possibly in response to my own 2007 review of the French original,5 Meillassoux bluntly denies that space is of any relevance to the question. Spatial distance is a merely harmless challenge to the human-world correlate. After all, even though no one is there in the lonely country house to witness the shattering of the vase, we can say that had there been an observer , that observer would have witnessed the toppling and destruction of the vase. For this event still occurs in a world in which the human-world correlate already exists, whereas the diachronicity of events both before and after the existence of humans makes it impossible to say that had there been an observer they would have witnessed the Big Bang occurring in such and such a fashion. However, it seems to me that Meillassoux merely asserts that the temporal simultaneity of our existence with that of the vase in the lonely country house is enough to render it harmless. It is true that the house does not exist prior to the correlate, but nonetheless it exists outside the correlate, and that is enough to make the same challenge. It is difficult to see why the “had there been an observer” maneuver succeeds in the case of a vase in the countryside in April 2011 but fails in the case of the Big Bang. This is not just a matter of nitpicking Meillassoux’s argumentative style: the fact that he bases his argument on time has at least two important consequences for his position. For in the first place, even though Meillassoux insists that the laws of nature are absolutely contingent, this turns out to be true only in a temporal sense. That is to say, it is a paradoxical feature of Meillassoux’s philosophy that he does allow for the existence of laws of nature, and simply believes that they can change at any moment without reason. Within any given moment, laws of nature do exist. He never suggests that different parts of the universe can have different laws at the same time, nor does he have any interest in the laws of part/whole composition that take place within any given instant. Could it be the case that rather than being made of gold atoms, a small chunk of gold could be made of silver atoms, cotton, horses, or that this same small piece of gold could be made of gigantic vaults filled with even more gold? These are not topics that draw Meillassoux’s attention, since he is focused solely on how the laws of nature might change or endure from one moment to the next . Another implication for Meillassoux’s system is that his concept of things-in-themselves turns out to be to be inadequate. For when he proves that things-in-themselves can exist without humans, this turns out to be true only in a temporal sense as well. Namely, things-in-themselves existed ten billion years ago, and they will continue to exist after all humans have succeeded in exterminating themselves. However, being able to exist before our births and after our deaths is just one small part of what it means to be a thing-in-itself. The more important part is that even if a thing is sitting on a table right now, in front of me, even if I stroke it lovingly or press my face up against it directly, I am still dealing only with a phenomenal version of the thing; the thing-in-itself continues to withdraw from all access. Yet no such thing is acknowledged by Meillassoux. For him finitude is a disaster, and absolute knowledge is in fact possible. Meillassoux’s thing-in-itself exists in independence only of the human lifespan , not of human knowledge. The fifth pillar of Meillassoux’s argument is his use of Cantor’s transfinite mathematics to show that even if the laws of nature are contingent, they need not be unstable, and thus we cannot use the apparent stability of nature to disprove his metaphysics of absolute contingency. What Cantor showed is that there are different sizes of infinity, and that all these infinities cannot be totalized in a single infinite number of infinities. Meillassoux sees this as crucial, since it allows him to discredit any “probabilistic” argument against his theory. The probabilistic argument (as defended quite clearly by Jean-René Vernes)6 would say this: given that the laws of nature seem so stable, it it is extremely improbable that there is no hidden reason for their remaining so stable. As Meillassoux sees it, probability is of value only when we can index an accessible total of cases. These can even be infinite: for example, there are an infinite number of points where a rope can break when stretched tight, but this does not stop us from calculating probabilities for various sections of the rope to break. By contrast, there is no way to sum up the number of possible laws of nature. For here there is no way to totalize; we cannot stand outside of nature and calculate the possible number of laws so as to determine the probabilities that any one of them might change. Therefore, although we can speak of probability when dealing with intraworldly events such as elections, horse races, and coin-flips, we cannot use the words “probable” or “improbable” when describing alterations at the level of nature as a whole. Rather than commenting on the validity of this argument and its use of Cantor, let me simply note that it once again creates a dualistic ontology. We already saw that Meillassoux treats time differently from space. In analogous fashion, he now treats the level of world differently from that of intraworldly events. The emergence of worlds is purely contingent and virtual and governed by no probability at all, while events within the world necessarily follow laws (even if these laws can change at any moment without reason), and thus their probabilities can be calculated. It is a strategy deeply reminiscent of Badiou’s (2005) own dualism between the normal “state of the situation” and the rare and intermittent “event.” The sixth and final pillar of Meillassoux’s book can be dealt with briefly, since we have already touched on it elsewhere. It comes at the very beginning of the book, when Meillassoux says that we must revive the distinction between primary and secondary qualities, and that the primary qualities are the ones that can be mathematized. He admits that he has not yet published a proof of this idea, though in fact it is already known as one of his primary doctrines. And here we encounter the familiar problem with Meillassoux’s inadequate conception of things-in-themselves. “Primary qualities” refers to those qualities that a thing has independently of its relations with us or anything else. But if the primary qualities can be mathematized, this means that they are not entirely independent of us, since our knowledge can get right to the bottom of them. The mathematized qualities of things are independent of us only in Meillassoux’s sense that they will still have those qualities even when all humans are dead. But to repeat, autonomy from the human lifespan is not the same as autonomy from human access. Here once more Meillassoux is concerned only with independence from the human-world correlate across time, not in any given instant. 2. L’Inexistence divine In 1997, the same year in which he turned thirty years old, Meillassoux earned his doctorate at the École normale supériuere with a brazen dissertation entitled L’Inexistence divine ( The Divine Inexistence ). The work was substantially revised in 2003. But even then, with typical fastidiousness, Meillassoux decided that the work was not yet ready for press. It has now been scrapped in favor of some future, multi-volume work bearing the same title. While writing my book on Meillassoux for Edinburgh University Press, I was permitted to translate excerpts from this unpublished work for use as an appendix in my own book; in total, the appendix contains approximately twenty percent of Meillassoux’s 2003 manuscript, the first time any of it will be published in any language. Nonetheless, a portion of the argument was already tested in the article “Spectral Dilemma,” published in English in the journal Collapse (2008: 261-75). There the philosophical motives for the virtual God are already made clear. What troubles us most are early deaths, brutal deaths, deaths of especial injustice– the sorts of deaths in which the brutal twentieth century was so abundant. And here, neither the atheist nor the believer can help us. The atheist can offer nothing but a sad and cynical resignation when reflecting on the victims of these terrible crimes. The believer does little better, being unable to explain how God could have allowed such things to happen, due to the famous intractability of the problem of evil. The solution offered to this dilemma by Meillassoux is bold, and all the more so given that he emerges from such a deeply Leftist, materialist, and unreligious background. His solution is that God does not yet exist, and therefore is not blameworthy for these catastrophes. Given that everything is contingent in Meillassoux’s philosophy, this God and divine justice might never exist, but they can at least exist as an object of hope. Let’s begin by jumping to the end of L’Inexistence divine , where the alternatives are laid out so nicely. There are four basic attitudes that humans can have towards God, Meillassoux says. First, we can believe in God because he exists. This is the classical theist attitude, rejected for the simple reason that it would be amoral and blasphemous to believe in a God who allows children to be eaten by dogs, to use Dostoevsky’s example. Second, we can disbelieve in God because he does not exist: the classical atheist attitude. But this leads to sadness, cynicism, and a sneering contempt for the greatness of human capacity. The third option, rather more complex, is to disbelieve in God because he does exist: in other words, to exist in rebellion against God as the one who must be blamed for the evils of the earth. The examples here might range from Lucifer himself, to the more human figure of Captain Ahab in Melville’s Moby-Dick , to Werner Herzog’s even more recent catchphrase, “Every man for himself, and God against all.” That leaves only the fourth option: believing in God because he does not exist. Meillassoux closes his book by saying that the fourth option has now been tried (namely, in the course of his own book), and that now that all four have been specified, we must choose. The first reaction to this theory of the inexistent God will be laughter. Few readers will ever be literally convinced by it, and probably none will immediately be convinced by it. But if we ask ourselves why we laugh, the answer is because it sounds so improbable that an inexistent God might suddenly emerge and resurrect the dead. It obviously sounds more like a gullible theology than a rigorous piece of philosophical work. Yet two things need to be kept in mind. First, Meillassoux’s theories are hardly more unlikely than those of great philosophers of the past such as Plato, Plotinus, Avicenna, Malebranche, Spinoza, Leibniz, Nietzsche, or Whitehead. We read the great philosophers not because their systems are plausible in commonsense terms that can be measured by the laws of probability. Instead, we read them precisely because they shatter the existing framework of common sense and open up new window on the universe. Second, and even more importantly, Meillassoux has already rejected probability as a valid measuring stick in philosophy. Or rather, he accepts probability in the intra-worldly realm (where it is linked with potentiality), and rejects it at the level of the world itself (where potentiality is replaced with what he calls virtuality). The virtual God can appear at any moment for no reason at all, just as any other new configuration of laws of nature can appear: in a manner that the laws of probability cannot calculate. Responding to those who might ridicule the idea of a sudden emergence of God and a resurrection of the dead, Meillassoux cites Pascal, who asserts that the resurrection of the dead would be far less incredible than the fact that we were born in the first place. This shifts philosophy onto new ground. Rather than concerning ourselves with what is likely to happen in the world as we know it, we focus instead on the most important things that could happen. For this reason, the expected objection that a virtual God is no more likely to appear than a virtual unicorn or a virtual flying spaghetti monster misses the point. Unicorns and spaghetti monsters could also appear, just like any other non-contradictory thing. But these would just be novel bizarre entities among others, not the heralds of completely new worlds. For Meillassoux, the emergence of matter, life, and thought have been the three truly amazing advents of the world so far, each of them dependent on the advent(s) preceding them. As he sees it, there can be no greater intraworldly entity than the human beings who already exist, since nothing in the world is better than the absolute knowledge of which humans alone are capable. This means that the next great advent must be something that perfects human beings rather than superseding them. And this can only be the world of justice, in which the dead are resurrected and their horrible deaths partially cancelled (Meillassoux never considers the possibility of a God who would literally erase the pre-divine past so that it never happened at all). The only immortality worth having is an immortality of this life, not an existence in some ill-defined afterworld. Human existence, he holds, must always be governed by a “symbol” that gives us the “immanent and comprehensible inscription of values in a world.” And just as cosmic history made the three great contingent leaps of matter, life, and thought, with a leap to justice as the only one still to come, a similar structure occurs within human culture and its symbols, which consist so far of the cosmological, naturalistic, and historical symbols, with a “factial” symbol still to come. We can review each of these symbols briefly. The cosmological symbol refers to the ancient dualism between the terrestrial and celestial spheres. Here below everything is conflict, corruption, and decay; but in the heavens nothing is perishable, all movement is circular, and everything is arranged in mutual harmony. This symbol is ended by modern physics when Galileo discovers such blemishes as sunspots and craters on the moon, and when Newton integrates both celestial and terrestrial movement into a single gravitational law. Next comes the naturalistic or romantic symbol, in which perfection comes not from the sky but from nature itself. The world is filled with pretty flowers (Meillassoux claims that the ancients never discussed the beauty of flowers until Plotinus in the third century) and with living creatures naturally moved by pity, at least until society corrupts them. This symbol collapses in the face of reality as we know it, since pity is no more common than war, corruption, and violence. This brings us to the historical symbol, which only now is passing away. Bad things may happen, but history has an inner logic of its own, such that everything works out in the end. The ultimate form of the historical symbol is the economic symbol, whether in a Marxist or neo-liberal form. Just as the Marxist holds that the inner economic logic of the capitalists will inexorably lead them to self-destruction, the neo-liberal assumes that the sum total of individual selfish actions will lead, in the long run, to the greatest possible good. We worship the economy and let it guide history for us, just as the ancients worshipped celestial bodies and held them to be free from blemish. The final remaining symbol is the factial symbol, which Meillassoux hopes will now emerge. Factiality, we recall, is his term for the absolute contingency of everything that exists. Once we have grasped this absolute contingency, we are free to expect the dramatic advent of the coming fourth World: the world of justice, inaugurated by a virtual God and even mediated by a messianic human figure. There is the added feature, however, that this messiah must abandon all claims to special status once the messianic realm of justice is achieved. The messianic figure will then be no more special than any person on the street, since a reign of human equality will have arisen. Although this focus on human being might seem like a return to standard humanism, Meillassoux holds that human pre-eminence has never truly been maintained. Previously, humans have been treated as special only because they contemplate the Good, because they resemble their omnipotent creator, or because they happen to be the temporary victors in a cruel Darwinian death-match between millions of living species. For Meillassoux, by contrast, humans have value because they know the eternal. But it is not the eternal that is important, since this merely represents the blind, anonymous contingency of each thing. What is important is not knowledge of the eternal , but knowledge of the eternal. We should not admire Prometheus for stealing fire from the gods; Prometheus is simply as bad as all the gods, no matter how much he increased our power. Feuerbach and Marx were wrong to say that God is a projection of the human essence, since for Meillassoux the usual concept of God represents the degradation of the human essence. If the traditional God was allowed to inflict plagues and tsunamis on the human race, the Promethean human of the twentieth century simply assumes the right to inflict death camps and atomic fireballs instead. In this respect, we have simply begun to imitate the degradation of humanity that was formerly invested in an omnipotent and arbitrary God. In response to charges that absolute contingency might lead to political quietism, Meillassoux counters that the World of justice would mean nothing unless we had already hoped for it beforehand. A World of justice that came along at random would merely be an improved third World of thought: indeed, a perfect one. But it would have satisfied no craving, and would therefore have no redemptive power. For this reason, we must actively hope for the fourth World of justice for such a fourth World ever to arise. Not only justice, but beauty is dependent on such hope: for Meillassoux, who is here somewhat dependent on Kant, beauty means an accord between our human symbolization and the actual world, which could never be present in a World of the blessed any more than justice could. And just as a messianic figure is needed to incarnate our hope and then abandon power once the World of justice is realized, it is the figure of the child whose fragile contingency shows us a dignity and a demand for justice beyond all power. 3. Meillassoux Radicalized or Reversed Given the promising reception of Meillassoux’s first book, it would not be groundless to engage in early speculation about what it might take to earn him a place in the history of philosophy. Maybe this will never happen—who knows?—but quite possibly it will: his lucid argumentative methods and sheer philosophical imagination at least make him a good candidate to be read well into the future, especially following further elaboration in print of his mature system. Philosophy is often practiced as thought it were nothing more than the amassing of “knockdown arguments.” But this is no more insightful than saying that good architecture is the amassing of steal beams. It is true that poorly constructed building cannot stand for long, but sound construction is merely the first, indispensable step in building. In fact, I am inclined to say that what really makes a philosopher important is not being right, but being wrong . I mean this in a very specific sense. I once heard the interesting remark about twentieth century culture that “you have to remember that the sixties really happened in the seventies.” That is to say, it was in the 1970’s rather than the more honored 1960’s that civil rights, free love, long hair, and the rock and roll drug culture really took root. With respect to the history of philosophy, we might just as easily say: “you have to remember that Plato really happened in Aristotle,” that “Kant really happened in Hegel” or “Hume really happened in Kant,” or that “Husserl’s phenomenology first achieved its truth in Heidegger.” One becomes an important philosopher not by being right, but by attracting rebellious admirers who tell you that you are wrong , even as their own careers silently orbit around your own. To recruit faithful disciples may be comforting and flattering, but the greatest thinkers have generally had to experience refutation at the hands of their most talented heirs. For this reason, I would propose that we size up the magnitude of living thinkers not by deciding how many times they are right and wrong, but by asking instead: who would take the trouble to refute this author? For this reason I do not ask: “Is Meillassoux right?”, since I do not believe in the virtual God myself, nor am I convinced by any important aspect of Meillassoux’s philosophy. Instead, I ask if there are interesting ways to overturn him. Only by being overturned, by no longer remaining a contemporary, does one become a classic. Let’s begin with a simple model of refutation, which can be refined further at a later date once the basic point is established. One kind of refutation simply consists in saying: “This author is a complete idiot.” The refuter now walks away in celebration, and no link between the present and the future is built; all is reduced to rubble. But this sort of mediocre triumphalism is generally practiced by those who achieve little of their own, and is not especially interesting. Much more interesting is the sort of refutation that does not take its target to be a complete idiot. I would like to suggest that there are just two basic ways in which this can be done: radicalization and reversal . It has not escaped my notice that this is a fairly good match for the Deleuzian distinction between irony and humor. Whereas irony critiques and adopts the opposite principle of what it attacks, humor accepts what it confronts but pushes it into highly exaggerated form. The ironist is like the worker who sows chaos by rebeling and contradicting the boss, while the humorist is like the worker who follows orders to an absurdly literal degree, with equally chaotic results. Let’s start with a few examples. In Aristotle’s treatment of Plato, and Heidegger’s of Husserl, we find reversal. Plato’s eidei are transformed by Aristotle into mere secondary substances, and the individual worldly things despised by Plato become what is primary. For Husserl what is primary is whatever is present to consciousness, while for Heidegger this is precisely what is secondary, since the primary stuff of the world withdraws from any form of presence at all. As for radicalization, it is most easily found in the transformation of Kant by German Idealism: “Kant was right to wall off the things-in-themselves from human access, and simply should have realized that the thought of the Ding an sich is also a thought, and thereby the noumena are just special cases of the phenomena,” with much following from this discovery. It would also be easy to read Spinoza as a radicalizer of Descartes, and Berkeley and Hume as radicalized versions of Locke. Perhaps the distinction is now sufficiently clear. Admiring refutations are not those that say “Professor X is an idiot,” which is merely the flip side of the eager disciple’s fruitless “Professor X got everything right.” Instead, it will be some variant of one of the following two options: “Professor X is important, but got it backwards,” or “Professor X is important, but didn’t push things far enough.” In the history of philosophy these two latter cases have often been painful in purely human terms: Aristotle expresses sadness at refuting Plato, Kant is openly annoyed at Fichte, and Husserl feels betrayed and used by Heidegger. Rude handling from later figures almost seems to be the sine qua non of being a great philosopher. Now, it has already been claimed that Meillassoux is an emerging philosopher of the first importance, and by no less a figure than Alain Badiou: “It would be no exaggeration to say that Quentin Meillassoux has opened up a new path in the history of philosophy…” (Preface, vii). But rather than taking Badiou’s word for it, or rejecting his word, we might experiment by asking how Meillassoux could be radicalized or reversed. Are there interesting ways of doing this that might launch whole new schools of philosophy, unexpected or even condemned by Meillassoux himself? While no one can see the future, the present is poor when it is not riddled with virtual futures. The relation between philosophers and their predecessors and successors is always somewhat complicated, of course. But generally there is one central divergence at stake, which might be taken as the key to all the others. On this basis we could say that new thinkers primarily radicalize or primarily reverse the main ideas of their chief philosophical forerunner. There may be specific historical conditions and perhaps even personality traits connected with these two types, but this question can be left aside for now. More important for us is that radicalizers will generally be followed by reversers, and vice versa. Consider the textbook example of a reversal in the history of philosophy: Kant’s Copernican Revolution, which inverts the so-called dogmatic tradition that addresses the world itself, and makes the world revolve instead around the conditions by which it is known. While it is not completely impossible that Kant’s successors might have re-reversed this principle back into a new and stronger dogmatic realism, conditions were premature for such a move. Anyone doing this too early would likely have been an angry anti-Kantian reactionary rather than an original thinker in command of a genuinely new realist principle. The far more likely outcome is the one that actually happened: Kant’s reversal of his predecessors was viewed as incomplete, or as retaining lamentable bits of the traditional view, which despite his admirable breakthrough he was unable to shake off. This was the view of German Idealism, anyway. In similar fashion, Spinoza could also be viewed as a radicalizer of Descartes, who is equally accused of preserving various Scholastic dogmas in an otherwise radical project of philosophical reversal. The point is this: reversals in the history of thought tend to be followed soon thereafter by radicalizations of those reversals. The same may hold true in reverse: radicalizations might generally be followed by reversals, given that it is not always possible to be more radical than the radicals have already been. Consider the case of Husserl, who radicalizes Brentano’s early vagueness about what lies beyond immanent objectivity, and Twardowski’s assertion that there must be an external object lying outside the intentional content, by collapsing everything into the intentional sphere: there is no difference between the Berlin in my consciousness and the actual Berlin that is home to millions of people. It is difficult to see how one could be even more radical than Husserl’s idealist turn here. And thus the road is paved to Heidegger’s reversal of classical phenomenology, in which the key point is what lies deeper than any presence to consciousness: the Sein whose power and obscurity cannot be made exhaustively present, but only sends itself in historical epochs. In similar fashion we might also read Leibniz as a reverser of Spinoza’s radicalization, retrieving a strong sense of individual substance and a certain validity of what the Scholastics had said. Returning to Meillassoux, we might ask which kind of philosopher he is: a radicalizer or a reverser? At present, Meillassoux looks to me like a radicalizer (though for now his future remains shrouded in mist). He takes the correlationist tradition, which allows us to speak only of the relation between human and world, and tries to raise it into an even more extreme claim about the absolute contingency of everything. But whereas German Idealism did this by trying to collapse the distinction between thought and world entirely into the “thought” side, Meillassoux does it by trying to shift the non-absolute contingency of the thought-world correlate from epistemology to ontology. It is no longer a question of the inability of human knowledge to know what lies outside the correlate, but the inability of reality itself to be rooted in any definite laws. Furthermore, if we look at the various features of Meillassoux’s philosophy identified earlier tonight, all but one are already so radical that there is no obvious way to push them further. The one exception would be his claim that the world as a whole can change for no reason at any moment, coupled with the inconsistent claim that within a given world there are laws of nature that everything must follow. If gravitational attraction between all masses is a current law in our world, then for Meillassoux there can be no exceptions to this law for as long as it remains in force. A toppled vase will fall to the floor every time for sure,unless there is a cosmic change by which the laws of nature as a whole have altered. (This is reminiscent of the late medieval distinction between the absolute and ordained power of God, according to which God has the power to set or change the laws of nature, but not to contravene those laws locally once they are set.) On this point, to radicalize Meillassoux would simply be to say: there are no laws of nature even in the local sense. Everything that happens, even in the world here and now, is purely contingent and not governed by even a trace of law. And while this would be a more consistent development of Meillassoux’s thoughts on contingency, it is difficult to see how it could lead to a new philosophy. Instead, the admiring successors of Meillassoux are more likely to reverse one of his already sufficiently radical points. At least four candidates come to mind: *First, we have seen that Meillassoux thinks correlationism is challenged by a time before or after consciousness, but not by a space lying outside it. Perhaps this could be reversed into saying that spatial exteriority is the really crucial point. The arguments on this point are perhaps the least convincing in After Finitude (and do not even occur in the original French edition), and therefore it might be a candidate for the “blind spot” of which no philosopher is ever free. *Second, Meillassoux uses Cantor to claim that the contingency of laws of nature would not entail that they are unstable. A successor of Meillassoux might claim that it does make them unstable, and celebrate this fact. This person would then have to explain why common sense seems to encounter a relatively stable world despite its truly rampant instability. Whereas Meillassoux’s problem is to show how stability might exist despite contingency, this successor’s problem would be slightly different: to show why actual, full-blown instability might have the appearance of stability. *Third, Meillassoux claims that the primary qualities of things are those that can be mathematized. He might be reversed by a successor who says the opposite: the mathematizable qualities are the secondary ones, and the primary ones are those that elude symbolic formulation. While this is a perfectly valid possible objection to Meillassoux, it is one that is made in advance by some of his predecessors and is still made by some of his peers, making it less interesting for futurology than some of his other points. *Fourth and finally, whereas Meillassoux claims that God does not exist but might exist in the future, a successor might argue even more bizarrely that God has always existed but might vanish in the future. Let’s arbitrarily select the first of these possibilities, and imagine briefly where it might lead, if pursued in the future by admiring detractors. Meillassoux comes from the circle of Badiou, and some of Badiou’s most ardent admirers are found in Latin America. So, let’s imagine that towards mid-century some ingenious reversers of Meillassoux emerge in that portion of the Spanish-speaking world. Just for fun, let’s call them Castro and Chávez. And in order to avoid any confusion with the present-day politicians of those names, we will stipulate that Meillassoux’s great successors are both women. The philosopher Castro (we will suppose she comes from Peru) reverses Meillassoux’s argument that the ancestral or diachronic are what most threaten the human-world correlate. Instead, she claims that the diachronic does not threaten the correlate at all, and that we must instead look at space as what ruins the correlate and demands a strange new realism. What would such a philosophy look like? In order to determine this, we might ask what price Meillassoux pays for doing it the opposite way. As I see it, he pays in two separate ways. One is that laws of nature for him are contingent over time . The laws of nature apply to the universe as a whole at any given moment, and would be changed globally if they are ever changed at all. The second price he pays is that Meillassoux has no mereology , or theory of parts and wholes. Everything for him is on the level of the given, or immanent in experience, with the sole proviso that the laws governing this immanence might change without notice at any given moment. In reversing Meillassoux, Castro makes the following claims in the preface to her stunning debut book of 2045, The Cosmos and its Neighborhoods , rapidly translated from Spanish into all the languages of the world: Despite his brilliant analysis of the contingency of laws of nature over time, Meillassoux gets two important assumptions wrong. First, he allows for only one set of contingent laws to govern nature as a whole. Second, he allows laws to govern only the world that is immanent in experience, and thereby fails to explore the contingency among part-whole relations. In this book I will argue, first, that the laws of nature vary in any given instant between one region of the universe and the next; and second, that the world is made up of layers of parts and wholes that are also contingent with respect to one another. Those are the words of Castro. This may sound like a hopeless free-for-all of chaos, yet the book somehow succeeds in drawing some compelling deductions about how laws must vary from one place or level in the world to the next. Trapped in the limited horizon of 2011, and not yet inspired by the heavily balkanized political and technological situation of 2050 that somehow lends additional credence to Castro’s vision, we can only vaguely grasp what such a philosophy might look like. After this reversal of Meillassoux by Castro, the usual pattern leads us to expect a radicalization by Chávez, a young Argentine student of Castro. How could the already strange theories of Castro be radicalized? Perhaps as follows, in a disturbing new book entitled The Implosion of the Neighborhoods , which argues as follows: Castro was right to shift the Meillassouxian framework of contingency from time to space. However, in this respect she retained a surprisingly traditional opposition between the two. In this book I will show that time and space collapse into one another. This may sound too much like the discredited four-dimensional block universe of twentieth century physics and philosophy. However, the four-dimensional universe is a model biased in favor of space, merely adding an extra dimension to the commonsense spatial continuum while stipulating that the serial passage of time is an illusion. In this book I will argue instead for a one-dimensional space-time modeled after our experience of time, in which there is no simultaneous co-existence at all between different parts of the universe, or ‘neighborhoods’ as my esteemed teacher Castro has called them. Instead, the various portions of the universe link to one another by succession rather than by coexistence. Buenos Aires, New York, and Amsterdam do not exist simultaneously in the same landscape, but one after the other in the mind of some observer, and this observer can only be an observer much larger than any human. Against Meillassoux’s notion of a virtual God that does not exist now but might exist in the future, I will argue for an actual God that surveys the universe in sequence, thereby generating the illusion of spatial diversity and even the illusion of individual minds located within that diversity. Once this divine observer dies, the universe as a whole must perish. Again, these ideas are so bizarre that we of 2011 can barely comprehend them, just as Aristotle would have had a difficult time grasping the theories of Descartes. We could then perhaps imagine a further reversal of this theory, emanating from the intellectually resurgent Philippines of the twenty-second century. The Filipino School might argue that the universe is already dead, given the collapse of its spatial richness into the serial observations of a flimsy and mortal God. The virtual universe does not yet exist, but might exist in fully spatial form in the future, and this would require the death of God and the resulting liberation of God’s succession of images as independent, spatially situated realities. With a bit of sharpening, we might be able to make all of these imaginary thinkers more intuitively clear. Along with the history of philosophy, there might arise a new discipline generating imaginary futures for philosophy. The richness of Meillassoux’s system comes not from the fact that he is plausibly right about so many things, but because his philosophy offers such a treasury of bold statements ripe for being radicalized or reversed. He is a rich target for many still-unborn intellectual heirs, and this is what gives him the chance to be an important figure. NOTES 1. Quentin Meillassoux, After Finitude . Trans. R Brassier. (London: Continuum, 2008.) Page 5. The word “correlationism” does not appear in his doctoral thesis. As Meillassoux informed me in an email of February 8, 2011, he first coined this term in 2003 or 2004, while editing for publication a lecture he had given at the École normale supérieure on a day devoted to the theme of “Philosophy and Mathematics,” an event including Alain Badiou as one of the participants. 2. Graham Harman, Quentin Meillassoux: Philosophy in the Making . (Edinburgh: Edinburgh University Press, forthcoming 2011). 3. In an email of December 6, 2010, Meillassoux clarifies that in After Finitude he only deduces the impossibility of a “universal contradiction,” not of a determinate contradiction. In the same email he suggests that he can also prove the latter, though the proof is somewhat lengthier than the one found in After Finitude . 4. After Finitude (18-26), in the passage falling between the two sets of triple asterisks. These pages were sent by Meillassoux to translator Ray Brassier (in French) during the translation process, and do not appear in the original French version of the book. 5. Graham Harman, “Quentin Meillassoux: A New French Philosopher.” Philosophy Today 51.1 (2007): Pages 104-117. The passage where I raise the question of space can be found in the first column of page 107. 6. Vernes is first cited on p. 95 of After Finitude . See Jean-René Vernes, Critique de la raison aléatoire, ou Descartes contra Kant . (Paris: Aubier, 1982).  . (shrink)

El libro de Anne Gustavsson, titulado “Ethonographic Returns. Memory Processses and Archive Film”, recupera un recorte de algunos interrogantes que acompañaron su tesis doctoral en antropología social, presentada en el año 2018. Se trata de una publicación editada en inglés dentro de una serie denominada Elements in Critical Heritage Studies de la Universidad de Cambridge, que tiene como objetivo reunir investigaciones realizadas sobre el nuevo campo de estudios críticos del patrimonio. El l...

This article articulates a sociological conception of settler colonial remembering as a tool of legitimation. Theories of memory in the context of settler colonialism generally center counter-memories by the subaltern or colonized, or official hegemonizing representations at the level of state institutions. Underexamined is the dialectical nature of memory and discursive representations that help reproduce settler colonial processes of accumulation and displacement at the micro-level. The article draws on archival data from avowedly socialist-leftist Zionist colonies to explicate patterned representations (...) of Palestinian villages that Zionist forces gradually displaced prior to and during the 1948 War/Nakba. I demonstrate how the colonial settlers attributed political meaning through five representational modes: contrasting the indigenous as backward and primitive and settlers as progressive and developed; denying an indigenous connection to the land; emphasizing amiable relations through the promotion of cultural progress and settler superiority; asymmetrically assessing settler and indigenous belongings to national collectives; and legitimizing land purchases that dispossessed indigenous cultivators, despite the settlers’ socialist ideology, while reducing conflict to the issue of economic compensation. I theorize a form of settler colonial memory based not merely on erasure, but on recognition and disavowal. Finally, I argue that local memory is a significant site of production in which the conceptual tools to both trace the historical processes of supremacy and subvert asymmetrical sociality lie. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.4 (1999) 84-115 [Access article in PDF] Be-longing and Bi-lingual States Doris Sommer "How sad that people don't keep commitments any more. Even marriages last only about five years.""Yes, but long-distance marriages can stretch those five years out over weekends and vacations to make relationships last a lifetime."Benedict Anderson's provocative new book, The Spectre of Comparisons: Nationalism, Southeast Asia and the World, raises questions about political relationships over (...) time and over space. Like precarious modern marriages and their corollary "political" kinships (in-laws in Spanish are one's familia política), national sentiment today strains with the movements of transnational communities from home to distant enclaves. Over time, ties can unravel as modern subjects choose, or not, to identify with adopted political relatives. Is one's country the bastion of a people reluctant to receive more immigrants? Is it the sender of surplus people who will, in turn, send money home? (Heads of state in El Salvador, Guatemala, and Mexico typically object to US restrictions on immigration.) Or is it the harbor for many peoples? Does belonging even to a recently invented country anchor an existential need, a be-longing, because being a "man"--as Hannah Arendt still called the subject of politics--means striving for recognition among equals? Or, do many citizens today feel like resident aliens (to themselves or to others), belonging rather to ethnic minorities and perhaps--long-distance--to other nations of origin or of choice? Anderson is right to worry about precarious belongings and optional obligations.In the end though, he finds solace from the threats of egotism and despair, and from the social decomposition of too much movement (what Arjun Appadurai calls "modernity at large") in the resilient promise of the "goodness of nations." Confidence in the extrapersonal goals and pride in national belonging appears, almost miraculously, in the last of seventeen chapters. Each of these brilliant and erudite essays will reconfirm our admiration for Anderson. My own personal debt includes his extraordinary generosity and the good counsel that encourages me to follow him, sometimes with a swerve, as will be evident when my appreciation for be-longing plays bi-lingual games.The opening pages of The Spectre of Comparisons theorize a paradox in the postcolonial condition: the inescapable folly of comparing one's nation to another, or to a mother country. Concepts like nation or culture, after all, take on meaning in their particular contexts and by contrast with others. The core chapters chronicle aborted beginnings and abusive conflations of the nation and the state. But hope has the last word, thanks to three guarantees of national imaginings: the promising and innocent unborn generations; the nation's dead (war heroes); and the living who are ever willing to give the nation another chance, and yet another. Feelings of pride and shame come together in the end, because citizens invest, often against the evidence, in "the goodness [End Page 84] of nations" [364]. This resilience shows up right after the trouble in chapter 16, where shame was the connection between nation and narrator in Mario Vargas Llosa's 1987 novel about Peru. Unfounded but unrelenting, Anderson's hope follows on shame rather abruptly and suggests that shame itself is a sign of our care for our countries. 1 The narrator of El hablador had tried to escape from his ill-fated country, his "malhadado país," only to be haunted by it.My question is whether Anderson's coda to this Peruvian novel is inspired by the same indomitable demon of comparisons that he has been exposing throughout the essays. José Rizal had named the meddling devil to blame it for distracting the Filipino from the lovely garden he saw in Manila, assailing him with memories of a European original or model [2]. This double vision raises a specter of possible inauthenticity; it undermines meaning as models slip from centers to peripheries. Local concepts lose their particularities in global vocabularies. Anderson calls the movement a "logic of seriality." I prefer to call it trans-latio, literally a carrying from one place to another... (shrink)

This chapter attempts to further the understanding of Sahelo‐Sudanic systems of slavery via enquiries into the daily life of slaves. This work is based on the memories of elders in certain villages within the zone of the ancient state of Kaarta and the buffer zone between it and the state of Segou, an area corresponding to the modern Malian administrative Cercles of Kolokani and Banamba. Temporally, the focus is on the period directly before the colonial era. In particular, (...) the mode of acquisition of slaves and the different types of local slavery are considered. (shrink)

Emotional fluctuations are ubiquitous in everyday life, but precisely how they sculpt the temporal organisation of memories remains unclear. Here, we designed a novel task – the Emotion Boundary Task – wherein participants viewed sequences of negative and neutral images surrounded by a colour border. We manipulated perceptual context (border colour), emotional-picture valence, as well as the direction of emotional-valence shifts (i.e., shifts from neutral-to-negative and negative-to-neutral events) to create events with a shared perceptual and/or emotional context. We measured memory (...) for temporal order and temporal distances for images processed within and across events. Negative images processed within events were remembered as closer in time compared to neutral ones. In contrast, temporal distances were remembered as longer for images spanning neutral-to-negative shifts – suggesting temporal dilation in memory with the onset of a negative event following a previously-neutral state. The extent of negative-picture induced temporal dilation in memory correlated with dispositional negativity across individuals. Lastly, temporal order memory was enhanced for recently-presented negative (versus neutral) images. These findings suggest that emotional-state dynamics matters when considering emotion-temporal memory interactions: While persistent negative events may compress subjectively remembered time, dynamic shifts from neutral-to-negative events produce temporal dilation in memory, with implications for adaptive emotional functioning. (shrink)

In this paper we suggest adding to predicate modal and temporal logic a locality predicate W which gives names to worlds (or time points). We also study an equal time predicate D(x, y)which states that two time points are at the same distance from the root. We provide the systems studied with complete axiomatizations and illustrate the expressive power gained for modal logic by simulating other logics. The completeness proofs rely on the fairly intuitive notion of a configuration in order (...) to use a proof technique similar to a Henkin completion mixed with a tableau construction. The main elements of the completeness proofs are given for each case, while purely technical results are grouped in the appendix. (shrink)

Temporal consciousness is philosophically problematic because it appears to have features that cannot be analyzed in a way compatible with the fundamental view of time as a one-dimensional order of events. For example, it seems to be a manifest fact of experience that within a strictly present state of consciousness one can be immediately aware of a succession of events, yet the standard view of time denies that successive events can co-exist, so how can they be given together in (...) a present perceptual state? Such puzzles have occasionally led philosophers to reject scientific or mathematical theories of time. Some time ago C. D. Broad developed a largely unappreciated theory of temporal cognition to cope with these puzzles. In this paper the evolution of Broad’s theory is traced, and it is defended from the misinterpretations of later critics. Finally, it is suggested that a modification of Broad’s theory, which frees it from the trappings of sense-data epistemology, shows it to be compatible with sane current naturalistic approaches to experience that also would need to account for temporal experience within the framework of scientific time. (shrink)

Since 2020, many countries worldwide have deployed digital contact tracing programs that rely on a range of digital sensors in the city to locate and map the routes of viral spread. Many critical commentaries have raised concerns about the privacy risks and trustworthiness of these programs. Extending these analyses, this paper opens up a different line of questioning that goes beyond privacy-centered single-axis critique of surveillance by considering digital contact tracing symptomatic of the broader changes in modes of urban governance (...) that renders our cities traceable, knowable, and governable through data. Based on archival and real-time analysis of South Korean national and local COVID-19 dashboards, online forums, and interviews with South Korean public health practitioners, this paper offers a sociotechnical analysis of digital contact tracing that looks at the various intersections of state-political, bio-political, and techno-political power dynamics. In contrast to popular narratives that attributed the success of the Korean approach to digital contact tracing to its collectivist culture and smart city infrastructures, this paper suggests that the case can be better understood by looking at both the macro-level shift in the forms of governance that takes on a spatialized and networked character and the micro-level formation of moral responsibility that shape one's conduct as a health and safety-conscious citizens. As the latest realization of the expanding regime of traceability in digital/urban governance, the development of digital contract tracing is seen to parallel with concurrent changes occurring in multiple domains of life including knowledge production, cultural memory, and individual subjectivity. (shrink)

Hearing the news from South America at the turn of the millennium can be like traveling in time: here are the trials of Pinochet, the searches for "the disappeared" in Argentina, the investigation of the death of former president Goulart in Brazil, the Peace Commission in Uruguay, the Archive of Terror in Paraguay, a Truth Commission in Peru. As societies struggle to come to terms with the past and with the vexing questions posed by ineradicable memories, this wise book offers (...) guidance. Combining a concrete sense of present urgency and a theoretical understanding of social, political, and historical realities, State Repression and the Labors of Memory fashions tools for thinking about and analyzing the presences, silences, and meanings of the past. With unflappable good judgment and fairness, Elizabeth Jelin clarifies the often muddled debates about the nature of memory, the politics of struggles over memories of historical injustice, the relation of historiography to memory, the issue of truth in testimony and traumatic remembrance, the role of women in Latin American attempts to cope with the legacies of military dictatorships, and problems of second-generation memory and its transmission and appropriation. Jelin's work engages European and North American theory in its exploration of the various ways in which conflicts over memory shape individual and collective identities, as well as social and political cleavages. In doing so, her book exposes the enduring consequences of repression for social processes in Latin America, and at the same time enriches our general understanding of the fundamentally conflicted and contingent nature of memory. A timely exploration of the nature ofmemory and its political uses. (shrink)

RESUMEN El concepto heterotopía, definido por Michel Foucault como espacio otro, es retomado en este artículo, desde un enfoque crítico, para analizar los procesos de construcción, gestión y puesta en marcha del Museo Itinerante de la Memoria y la Identidad de Los Montes de María, El Mochuelo. Bajo la premisa de que el desarrollo de los procesos de memorialización debe atenderse más allá del cumplimiento normativo por parte del Estado, puesto que estas prácticas de memoria territoriales en El Mochuelo subvierten (...) el estatismo y la homogeneidad con los cuales se instauran las verdades oficiales. ABSTRACT Heterotopia concept, defined by Michel Foucault as another space, is taken up in this article to analyze the processes of construction, management, and implementation of the Museo Itinerante de la Memoria y la Identidad de Los Montes de María, El Mochuelo (Itinerant Museum of Memory and Identity of Los Montes de María, El Mochuelo). Under the premise that the development of memorialization processes must be addressed beyond regulatory compliance by the State since these territorial memory practices in El Mochuelo subvert the statism and homogeneity with which official truths are established. (shrink)

In this article I investigate several possibilities to define the concept of “temporal non-locality” within the standard framework of quantum theory. In particular, I analyze the notions of “temporally non-local states”, “temporally non-local events” and “temporally non-local observables”. The idea of temporally non-local events is already inherent in the standard formalism of quantum mechanics, and Basil Hiley recently defined an operator in order to measure the degree of such a temporal non-locality. The concept of temporally non- (...) class='Hi'>local states enters as soon as “clock-representing states” are introduced in the context of special and general relativity. It is discussed in which way temporally non-local measurements may find an interesting application for experiments which test temporal versions of Bell inequalities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.1 (2006) 149-179 [Access article in PDF] The Problem of "Misplaced Ideas" Revisited: Beyond the "History of Ideas" in Latin America Elías José Palti Universidad Nacional de Quilmes—CONICET The change that has come over this branch of historiography in the past two decades may be characterized as a movement away from emphasizing history of thought (and even more sharply, "of ideas") toward emphasizing (...) something rather different, for which "history of speech" or "history of discourse," if not unproblematic or irreproachable, may be the best terminology so far found J.G.A. Pocock, Virtue, Commerce, and History1In 1973, Roberto Schwarz published a paper that profoundly marked a generation of thinkers in Latin America: "As idéias fora do lugar" ("Misplaced Ideas").2 It was originally intended to provide a theoretical framework for "progressivist" authors to counter the influence of nationalistic tendencies that, in the 1960s and 1970s, were particularly noticeable among the leftist political organizations.3 Yet, the concept of "misplaced [End Page 149] ideas" soon proved especially productive for theorizing the problematic development of ideas in Latin American history. Schwarz's text thus became the fundamental point of reference for those in the field who intended to question the hitherto predominant paradigms in cultural and literary critique, which were mostly inspired by the Romantic-nationalistic tradition. Notwithstanding, a quarter of a century later, Schwarz's original contribution in this regard needs to be reassessed. In the course of the last twenty-five years, the apparent loss of the national states' centrality helped to reveal the inherent complexity of the processes of cultural exchange hidden behind a perspective that still tended to conceive of them exclusively in terms of inter-national relationships. Furthermore, a series of new developments in the disciplines specifically dedicated to analyzing those kinds of exchange processes compels us to reconsider some of the implicit assumptions in Schwarz's concept and reformulate it.The object of this paper is to explore, in the light of the new realities of the last fin-de-siècle, new perspectives regarding the dynamic of ideas and cultural exchange in peripheral areas (of which Latin American is only a particular case), utilizing the new conceptual tools provided by the recently developed disciplines and theories in the field. Ultimately, the present work intends to raise a broader, epistemological, issue, whose relevance exceeds the local context. As it shows, the shortcomings in Schwarz's theory spring from a crude linguistic view, which is inherent in the "history of ideas," that reduces language exclusively to its referential function. A more precise distinction of the different levels of language will thus help to reveal aspects and problems that Schwarz's perspective obliterates. Yet, as this paper also intends to demonstrate, Schwarz's original intellectual project may be disentangled from its linguistic premises and recovered for cultural critique. Applied in a new way, it can still provide a theoretical framework to comprehend the intricacies of the processes of cultural exchange, and, more specifically, the problematic dynamics of ideas in Latin America that Schwarz intended to analyze. On Places and Non-Places of Ideas In order to understand the sense of Schwarz's notion of "misplaced ideas" we must place it within the conceptual framework in which it emerged. With it, Schwarz aimed to translate into a cultural key the postulates of the so-called "dependency theory," the core of which took shape in the "Seminar [End Page 150] on Marx," organized in São Paulo in the early 1960s (and in which Schwarz participated). As is well known, that theory intended to refute the "dualistic" approaches that viewed the peripheral areas as vestiges of a precapitalistic world that tends historically to disappear. The nations in this area would thus replicate the same pattern of linear development of central countries. On the contrary, dependency theory postulated the existence of a complex dynamic between the center and the periphery, the two representing instances inherent in capitalist development, thus forming a single, interconnected system. According to... (shrink)

Tactile exploration often involves sequential touches interspersed with stimulus-free durations. Whereas it is obvious that texture-related perceptual variables, irrespective of the encoding strategy, must be stored in memory for comparison, it is rather unclear which of those variables are held in memory. There are two established variables—“intensity” and “frequency”, which are “temporally global” variables because of the long stimulus integration interval required to average the signal or derive spectral components, respectively; on the other hand, a recently established third contender is (...) the “temporally local” variable that codes for kinematic profiles of very short, suprathreshold events in the vibrotactile signal. Here, we present the first psychophysical evidence that temporally local variables can be stored in memory. To that end, we asked participants to detect changes in pulsatile indentation stimuli at their fingertips with and without a gap of 1 s between stimulus presentations. The stimuli either contained global variables alone, or a mix of local and global variables. We found, first, that humans are much better at detecting a change in stimuli when local variables are available rather than global ones alone—as evident by the fact that 21 compared to only 6 participants out of 25 yielded a valid psychophysical curve, respectively. Second, this observation persists even when there is a gap between the stimuli, implying local variables must be stored in memory. Third, an extensive array of relevant intensity definitions failed to explain participants’ performance in any consistent manner, which implies that perceptual decisions were less likely to be driven by intensity coding. Taken together, our results suggest that humans perform pulsatile change detection utilizing local pulse shape, and to a lesser degree global pulse rate, and that both parameters can be stored in memory. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

Resumen Folil Mapudungun, fruto de doce años de producción y de sistematización de objetivos y contenidos, es un método comunicativo multidimensional de enseñanza-aprendizaje de la lengua mapuche, como segunda lengua, orientado a jóvenes y adultos, en un contexto donde el mapudungun es lengua propia del territorio, lengua heredada y comunitaria. Hasta el momento, el método está integrado por ocho lecciones de estudio, desarrolladas y publicadas. En este artículo se presenta en detalle la organización de contenidos según sus tres ejes: transversal, (...) longitudinal y local. Se concluye que la concurrencia de los ejes definidos permite superar la dicotomía entre contenidos y metodología, a la vez que favorece el desarrollo de las diversas competencias que actúan en la comunicación cotidiana.Folil Mapudungun is a multidimensional method, based on a communicative approach, for teaching and learning Mapuche as a second language. It was designed for adult learners in a context where Mapudungun is a “language specific to the territory”, a heritage language and a community language. It is also the result of twelve years of research aiming to formulate objectives, and produce and systematize contents. At present, the method is constituted by eight lessons, developed and published in a textbook. This paper presents the method content organization according to three axes: transverse organization, longitudinal organization, and local organization. It is claimed that the use of these three axes allows us to overcome the methodology-content dichotomy, and to favor the development of the various communicative competences used in everyday life. (shrink)

In this paper, we develop a 3D-individual-based model to understand effect of various small-scale mechanisms in phytoplankton cells, on the cellular aggregation process. These mechanisms are: spatial interactions between cells due to their chemosensory abilities, a molecular diffusion and a demographical process. The latter is considered as a branching process with a density-dependent death rate to take into account the local competition on resources. We implement the IBM and simulate various scenarios under real parameter values for phytoplankton cells. To (...) quantify the effects of the different processes quoted above on the spatial and temporal distribution of phytoplankton, we used two spatial statistics: the Clark–Evans index and the group belonging percentage. Our simulation study highlights the role of the branching process with a weak-to-medium competition in reinforcing the aggregating structure that forms from attraction mechanisms, and shows by contrast that aggregations cannot form when competition is high. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Political Affections: Civic Participation and Moral Theology by Joshua HordernMichael P. JaycoxPolitical Affections: Civic Participation and Moral Theology By Joshua Hordern NEW YORK: OXFORD UNIVERSITY PRESS, 2013. 312 PP. $125.00Hordern asks his reader to consider that the decline of participatory democracy in Western societies may be ameliorated by a renewed appreciation of the role of emotions in politics. Creatively retrieving many elements of the Augustinian tradition, he argues (...) that the “evaluative intentionality” of emotions is an imperfect type of moral insight whereby human beings both participate in and conform themselves to the created “order of value” (40, 77). Although the power of sin profoundly destabilizes human inclinations, emotions can become stable moral guides through a process of “intersubjective verification” (81). Hordern claims that the epistemological capacities of socially stabilized emotions are substantial enough to enable the community to “participate in and evaluate the goods with which institutional practices are concerned, recognize the authority of those who promote the proper ends of those goods, and initiate common political reflection and deliberation” (142).Bringing these insights to bear upon his own political context, Hordern claims the “resentment,” “alienation,” and “disillusionment” that some British citizens feel toward the cosmopolitan project of the European Union stands as [End Page 213] evidence that “law which is not primarily rooted in the locality which it governs will run the risk of opposing the affections of the people” (22, 23, 242). Working from the premise that “local loves are the fertile soil in which more wide-ranging loves may grow,” Hordern champions “the politically beneficial possibilities of a limited ethnocentricity,” by which he means that emotions shared in smaller communities and within nation-states motivate citizens to attend to the common good most effectively (224, 240).Anticipating the objections to this proposal, Hordern assures his reader that the influence of Christianity upon democratic processes minimizes the negative effects of ethnocentric nationalism, such as the oppression of socially vulnerable groups. Insofar as Christian emotions participate uniquely in the transcendent order of values, the participation of this community in the temporal order would “disturb, renew, or correct patterns of social trust” (271) and provide “a critical standpoint whereby affections in all institutions may be described and assessed” (164).This reviewer shares some of Hordern’s general premises regarding the intelligence of emotions and their motivational potential in public life. By way of evaluation, however, I find three significant problems with his argument. First, although Hordern grasps Martha Nussbaum’s emotion theory quite well, he habitually mischaracterizes the more central aspects of her moral thought in order to prop up his somewhat more conservative agenda. For example, he accuses her of denying the existence of a “stable moral order” and of endorsing an individualistic concept of agency (98). These inferences fail to account for the highly social and essentialist vision of human flourishing that provides the normative content of her capability theory and her feminist ethic.Second, he offers some weak arguments as he develops his account of emotional stabilization. For example, he alleges that virtue cannot stabilize emotion because it is a form of “epistemological self-dependence” that “tends to block repentant attentiveness,” but this assertion is grounded in his antecedent concern to discredit Aristotelian habituation as a moral theory (110, 101). As he develops his own alternative proposal about intersubjective verification by appeals to “the power of memory,” he glosses over significant counterarguments concerning the “contested” nature of social memories of historical events (110, 115).Third, Hordern does not propose any universal norms of justice capable of checking the authority of particular civil governments. For example, he seems dismissive about the moral dangers of emotionally motivated nationalism, the gravity of which he attempts to minimize by emphasizing the critical aspect of Christian political participation. (The historical record of fascism in Europe would hardly support such a claim.) Nevertheless, he presumes a tacit normative point of reference every time he offers a political judgment. For example, he claims that civil authority should caution “against overreaching [End Page 214] itself in pride,” but this is to beg the question of what the interventionist role of governments should be vis-à-vis systemic injustice (198).Political... (shrink)

Targeted transitions in chromatin states at thousands of genes are essential drivers of eukaryotic development. Therefore, understanding the in vivo dynamics of epigenetic regulators is crucial for deciphering the mechanisms underpinning cell fate decisions. This review illustrates how, in addition to its cell memory function, the Polycomb group of transcriptional regulators orchestrates temporal, cell and tissue‐specific expression of master genes during development. These highly sophisticated developmental transitions are dependent on the context‐ and tissue‐specific assembly of the different types of Polycomb (...) Group (PcG) complexes, which regulates their targeting and/or activities on chromatin. Here, an overview is provided of how PcG complexes function at multiple scales to regulate transcription, local chromatin environment, and higher order structures that support normal differentiation and are perturbed in tumorigenesis. (shrink)

I propose a reflection on the notion of Mapuche archive focusing on Mapuche jewelry as a special kind of document. As they were made with coins, I analyze the problem of the value associated with these jewels. Thus, I describe a historical movement, through which the coins were first withdrawn from the logic given by the Chilean political-economic archive, and then were inserted in a Mapuche logic of value and archive, understanding the latter as an instrument of political legitimacy. Then (...) I analyze their post-conquest journey, and their reinsertion in the Chilean field as commodities until their current museographic resignifications. I conclude by commenting some forms of their present assessment in the context of multicultural and patrimonial management of cultural differences. (shrink)

Commonly, a switch between networks mediating memory encoding and those mediating retrieval is observed. This may not only be due to differential involvement of neural resources due to distinct cognitive processes but could also reflect the formation of new memory traces and their dynamic change during consolidation. We used resting state fMRI to measure functional connectivity (FC) changes during post-encoding rest, hypothesizing that during this phase, new functional connections between encoding- and retrieval-related regions are created. Interfering and reminding tasks (...) served as experimental modulators to corroborate that the observed FC differences indeed reflect changes specific to post-encoding rest. The right inferior occipital and fusiform gyri (active during encoding) showed increased FC with the left inferior frontal gyrus and the left middle temporal gyrus (MTG) during post-encoding rest. Importantly, the left MTG subsequently also mediated successful retrieval. This finding might reflect the formation of functional connections between encoding- and retrieval-related regions during undisturbed post-encoding rest. These connections were vulnerable to experimental modulation: Cognitive interference disrupted FC changes during post-encoding rest resulting in poorer memory performance. The presentation of reminders also inhibited FC increases but without affecting memory performance. Our results contribute to a better understanding of the mechanisms by which post-encoding rest bridges the gap between encoding- and retrieval-related networks. (shrink)

Changes in the conscious and unconscious influences of memory over time were assessed in two experiments by using a variant of the process-dissociation procedure. In both experiments, performance on a stem-completion task was measured under both inclusion and exclusion instructions. Across the two experiments, there were four different retention intervals: 2 minutes, 2 days, 2 weeks, and 2 months. The results indicated that conscious influences decreased systematically across retention interval. In contrast, unconscious influences of memory in the absence of conscious (...) influences increased between 2 minutes and 2 days, and then remained relatively stable from 2 days to 2 weeks to 2 months. These results stand in apparent contrast to those of McBride and Dosher (1999), which showed equal rates of forgetting for conscious and unconscious influences of memory on performance. The implications for models of the relation between conscious and unconscious influences of memory on performance are discussed. (shrink)

Departing from what Levey and Sznaider (2002) in their seminal work ‘Memory Unbound’ refer to as ‘cosmopolitan memory’ that emerges as one of the fundamental forms ‘collective memories take in the age of globalization’, this article will consider the underlying ethical implications of global memory formation that have yet to be adequately theorized. Since global disseminations of local memory cultures and the implicit canonization of its traumas are intimately related to the concept of archive, I will first focus on (...) what Derrida (1996) in Archive Fever calls ‘archival violence’ and will show its inherent relation to the formation of cosmopolitan memory. Another related concept that I will use and that will problematize the transformation of living, embodied memory into archival, cultural memory upon which the formation of cosmopolitan memory depends is the witness. Using Agamben’s writing (2002) in this context that in Remnants of Auschwitz focuses on the foundational (im)possibilities of bearing witness, I will show that this transformation that determines the very possibility of cosmopolitan memory is far from unproblematic and readily accessible as Levy and Sznaider seem to assume. What will emerge as the most distinctive concern of global memory formation is the ethical material of difference as that which both makes its imperatives historically and politically exigent and that which signifies the difficulties of its unified articulation. Solidarity with the suffering of the other that mobilizes the very formation of cosmopolitan memory is also what should solicit vigilance against the universalistic ritualizations of its prerogatives. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Philosophical theories of memory rarely distinguish between importantly different sorts of memory: procedural, semantic and episodic. I argue for a temporal representation theory to explain the unique characteristic of episodic memory as the only form of conscious memory. A careful distinction between implicit and explicit representation shows how the past figures in memory. In procedural and semantic memory, the influence of the past is implicit by which I mean that the past experience is used but not represented in the skill (...) or knowledge. Episodic memory, in contrast, depends on representing a past experience as past. On a temporal representation theory of consciousness, a conscious state represents the present moment, and in the case of episodic memory, it includes a representation of past experience. The embedded account of the ‘feeling of pastness’ takes past experience to be part of the explicit content of a conscious state. An episodic memory is a representation of the present that includes a representation of the past. Whereas a higher-order theory of consciousness can give no reason why only episodic memories are conscious, a temporal theory explains why episodic memories are both higher-order and conscious. Finally, I consider the essential role of episodic memory in the formation of a temporally extended self. The demands of a social environment motivate development of an ability to track the mental states of others and oneself over time. By incorporating past experience (and future experience) into the present, episodic memory extends experience in time to form the sense of self. Through a careful examination of the function of temporal representation, we can see why the past is not consciously represented in procedural and semantic memory and the value of consciously representing the past in episodic memory. (shrink)

Roughly 1.7 million people died in Cambodia from untreated disease, starvation, and execution during the Khmer Rouge reign of less than four years in the late 1970s. The regime’s brutality has come to be symbolized by the multitude of black-and-white mug shots of prisoners taken at the notorious Tuol Sleng prison, where thousands of “enemies of the state” were tortured before being sent to the Killing Fields. In Archiving the Unspeakable, Michelle Caswell traces the social life of these photographic (...) records through the lens of archival studies and elucidates how, paradoxically, they have become agents of silence and witnessing, human rights and injustice as they are deployed at various moments in time and space. From their creation as Khmer Rouge administrative records to their transformation beginning in 1979 into museum displays, archival collections, and databases, the mug shots are key components in an ongoing drama of unimaginable human suffering. Winner, Waldo Gifford Leland Award, Society of American Archivists Longlist, ICAS Book Prize, International Convention of Asia Scholars. (shrink)

Este artículo revisa el proceso histórico de la ‘Conquista del desierto’ y la existencia de campos de concentración para indígenas en Argentina a través de una lectura de hermenéutica filosófica. El objetivo del artículo es interpretar el periodo y el uso de campos como instancias que configuraron la diferenciación del pueblo mapuche como sujeto racializado en la sociedad argentina. Los resultados de la exposición muestran que la marginación del cuerpo mapuche ocurre por el registro de excepciones y que aquella es (...) disputada por sujetos mapuche. This paper reviews the historical process of the ‘Conquest of the Desert’ and the existence of concentration camps for indigenous people in Argentina. The research is conducted through philosophical hermeneutics. The objective of the paper is to read the period and the use concentration camps as instances that shaped the differentiation of the Mapuche people as a racialized subject in Argentine society. The results of the argumentation show that marginalization of the Mapuche body occurs through the registration of exceptions, which is disputed by Mapuche subjects. (shrink)

Memory research distinguishes two components of episodes—the event or item and the spatial–temporal setting or context in which it occurred. The wordcontextis used either globally to denote the physical, social, or emotional environment at study and test or it is used locally to refer to another word or picture that was paired with a particular target. In this article, we report four experiments that investigated the influence of two different nonverbal local contexts on explicit word recognition and implicit word (...) identification test performance. In each experiment, university students studied words that were displayed against various extra-item local contexts, and the contexts were either the same or different at study and test. What differed across experiments was the nature of the contexts: for Experiments 1 and 2, it was a band of color that stretched across the computer screen, and for Experiments 3 and 4, the context was a colored line drawing. The combined findings from all experiments provide no evidence of memory context effects on priming. By contrast, recognition test performance showed reliable MCEs but only when the local context was a concrete drawing or when it was a color that was target-related or appropriate. The discussion compared these findings with those from previous studies that concerned the cueing effectiveness of verbal and nonverbal extra-item contexts. (shrink)

Florentino Ameghino was probably the most important naturalist in nineteenth-century Argentina, being a self-taught palaeontologist, whose theories rivalled the most advanced of the time in Europe and the United States. On top of his vast palaeontological discoveries, Ameghino’s fame came from his theory of the origin of the human species in the Argentine Pampas, published in 1880. The idea of Ameghino’s followers was to create a place of secular pilgrimage for the new Argentine nation to honour their own (...) secular hero or saint, as Ingenieros had called him. A few accusations by the local Catholic Church were posed with Ameghino’s followers denying them. The education of the nation was one of the greatest concerns that Catholics had, and some saw in the positivist liberal position a rejection of the education on the virtues required for the building of a nationally educated society in Argentina for the twentieth century. -/- . (shrink)

The comparison between the concept state of nature, as it appears in the contractualist theories of XVII and XVIII centuries, and the original position of the the- ory of justice by John Rawls, reveals the assumptions, difficulties and limitations of the latter. In spite of its claims, the original position does not justify the search and existence of a well ordered society, and it is far away from reach the brightness and coherence with which their predecessors argued on behalf (...) of societies where safety, freedom or equality ruled. Besides, Rawls, on amounting justice to a material welfare which must arrive, does not know the important role that the historical memory plays when claiming the resolution of the injustices from the pastLa comparación entre el concepto de estado de naturaleza, tal y como aparece en las teorías contractualistas de los siglos XVII y XVIII, y la posición original de la teoría de la justicia de John Rawls, sirve para poner de manifiesto los supuestos, dificultades y limitaciones de esta última. A pesar de sus pretensiones, la posición original no justifica la búsqueda y existencia de una sociedad bien ordenada, y está lejos de alcanzar la brillantez y coherencia con la que sus antecesores argumentaron a favor de sociedades donde reinara la seguridad, la libertad o la igualdad. Además, Rawls, al reducir la justicia a un bienestar material que ha de llegar, desconoce el importante papel que la memoria histórica desempeña a la hora de reclamar la resolución de las injusticias del pasado. (shrink)

Resumen El artículo expone la noción de temporalidad discontinua implícita formalmente en la fenomenología de la conciencia interna del tiempo de Husserl y las correspondencias equivalentes que se encuentran en una lectura atenta de la obra de Marcel Proust. Para eso se reconstruye la peculiar noción de tiempo implícita en la obra de ambos autores mostrando el sentido diferencial y discontinuo que la misma reviste. A partir de dicha reconstrucción se desarrollan las implicaciones críticas que la misma acarrea respecto de (...) las concepciones tradicionales de memoria, subjetividad y corporalidad. Finalmente se hacen algunas consideraciones respecto de las influencias recíprocas entre filosofía y arte.The article exposes the notion of a discontinuous temporality formally implied in Husserl's phenomenology of internal time consciousness and its corresponding equivalencies found in an attentive reading of the work of Marcel Proust. To this end, the peculiar notion of time implicit in the work of both authors is reconstructed showing the differential and discontinuous sense that this notion has. It is developed the critical implications that this reconstruction carries with it regarding the traditional conceptions of memory, subjectivity and corporeality. Finally, some considerations are made regarding the reciprocal influences between philosophy and art. (shrink)

Emotion has a substantial influence on the cognitive processes in humans, including perception, attention, learning, memory, reasoning, and problem solving. Emotion has a particularly strong influence on attention, especially modulating the selectivity of attention as well as motivating action and behavior. This attentional and executive control is intimately linked to learning processes, as intrinsically limited attentional capacities are better focused on relevant information. Emotion also facilitates encoding and helps retrieval of information efficiently. However, the effects of emotion on learning and (...) memory are not always univalent, as studies have reported that emotion either enhances or impairs learning and long-term memory retention, depending on a range of factors. Recent neuroimaging findings have indicated that the amygdala and prefrontal cortex cooperate with the medial temporal lobe in an integrated manner that affords (i) the amygdala modulating memory consolidation; (ii) the prefrontal cortex mediating memory encoding and formation; and (iii) the hippocampus for successful learning and long-term memory retention. We also review the nested hierarchies of circular emotional control and cognitive regulation (bottom-up and top-down influences) within the brain to achieve optimal integration of emotional and cognitive processing. This review highlights a basic evolutionary approach to emotion to understand the effects of emotion on learning and memory and the functional roles played by various brain regions and their mutual interactions in relation to emotional processing. We also summarize the current state of knowledge on the impact of emotion on memory and map implications for educational settings. In addition to elucidating the memory-enhancing effects of emotion, neuroimaging findings extend our understanding of emotional influences on learning and memory processes; this knowledge may be useful for the design of effective educational curricula to provide a conducive learning environment for both traditional “live” learning in classrooms and “virtual” learning through online-based educational technologies. (shrink)

In this chapter we examine the tendency to view future-oriented mental time travel as a unitary faculty that, despite task-driven surface variation, ultimately reduces to a common phenomenological state. We review evidence that FMTT is neither unitary nor beholden to episodic memory: Rather, it is varied both in its memorial underpinnings and experiential realization. We conclude that the phenomenological diversity characterizing FMTT is dependent not on the type of memory activated during task performance, but on the kind of subjective (...) temporality associated with the memory in play. (shrink)

Memory of historical trauma has a unique power to generate works of art. This book analyzes the relation of public memory to history, forgetting, and selective memory in Berlin, Buenos Aires, and New York—three late-twentieth-century cities that have confronted major social or political traumas. Berlin experienced the fall of the Berlin Wall and the city’s reemergence as the German capital; Buenos Aires lived through the dictatorships of the 1970s and 1980s and their legacy of state terror and disappearances; and (...) New York City faces a set of public memory issues concerning the symbolic value of Times Square as threatened public space and the daunting task of commemorating and rebuilding after the attack on the World Trade Center. Focusing on the issue of monumentalization in divergent artistic and media practices, the book demonstrates that the transformation of spatial and temporal experience by memory politics is a major cultural effect of globalization. (shrink)

High temporal resolution event-related brain potential and electroencephalographic coherence studies of the neural substrate of short-term storage in working memory indicate that the sustained coactivation of both prefrontal cortex and the posterior cortical systems that participate in the initial perception and comprehension of the retained information are involved in its storage. These studies further show that short-term storage mechanisms involve an increase in neural synchrony between prefrontal cortex and posterior cortex and the enhanced activation of long-term memory representations of material (...) held in short-term memory. This activation begins during the encoding/comprehension phase and evidently is prolonged into the retention phase by attentional drive from prefrontal cortex control systems. A parsimonious interpretation of these findings is that the long-term memory systems associated with the posterior cortical processors provide the necessary representational basis for working memory, with the property of short-term memory decay being primarily due to the posterior system. In this view, there is no reason to posit specialized neural systems whose functions are limited to those of short-term storage buffers. Prefrontal cortex provides the attentional pointer system for maintaining activation in the appropriate posterior processing systems. Short-term memory capacity and phenomena such as displacement of information in short-term memory are determined by limitations on the number of pointers that can be sustained by the prefrontal control systems. Key Words: coherence; event-related potentials; imaging; long-term memory; memory; short-term memory; working memory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:168 HUME ON MEMORY AND CAUSATION In the first part of this paper I shall argue that an examination of Hume's second criterion for distinguishing between ideas of the memory and ideas of the imagination shows that Hume's ideas of the memory are relative ideas corresponding to definite descriptions of the general form, "the complex impression that is the (original) cause of a particular positive idea m and which (...) exactly (or closely) resembles m," where 'm' is a variable ranging over positive ideas (mental images). I shall show that if this is correct, there is a clear basis for distinguishing ideas of the memory both from ideas of the imagination and from beliefs regarding spatially and temporally located objects that are not based upon the memory. But since there is often a significant temporal distance between the impression remembered and the positive component of one's relative idea of the memory, it is incumbent upon me to explain how the remembered impression and the positive idea can be causally related even though they are not temporally contiguous. In the second part of the paper I shall argue that, contrary to his "definitions" of causation in the Treatise,2 Hume took neither spatial nor temporal contiguity to be essential to causation. In Book I, Part I, Section 3 and again in Book I, Part III, Section 5 of his Treatise of Human Nature, Hume provides two criteria for distinguishing between ideas of the memory and ideas of the imagination. I shall refer to these two criteria as "the phenomenal criterion" and "the formal criterion". In this section I shall show that while the phenomenal criterion 169 expresses the means one actually employs in distinguishing an idea of the memory from an idea of the imagination, the formal criterion provides one with insight into the complex structure of an idea of the memory, and therefore allows one to distinguish ideas of the memory from both ideas of the imagination and from other ideas of and beliefs regarding spatially and temporally located objects. In Book I, Part I,- Section 3 of the Treatise, Hume introduces the phenomenal criterion as follows: We find by experience, that when any impression has been present with the mind, it again makes its appearance there as an idea; and this it may do after two different ways: either when in its new appearance it retains a considerable degree of its first vivacity, and is somewhat intermediate betwixt an impression and an idea; or when it entirely loses that vivacity, and is a perfect idea. The faculty, by which we repeat our impressions in the first manner, is called the MEMORY, and the other the IMAGINATION. 'Tis evident at first sight, that the ideas of the memory are much more lively and strong than those of the imagination, and that the former faculty paints its objects in more distinct colours, than any which are employ'd by the latter. When we remember any past event, the idea of it flows in upon the mind in a forcible manner; whereas in the imagination the perception is faint and languid, and cannot without difficulty be preserv'd by the mind steddy and uniform for any considerable time. Here then is a sensible difference betwixt one species of ideas and another. (T 8-9; cf. T 85) It is clear that Hume took this to be a phenomenal criterion, i.e., to specify a sensible characteristic by which one can distinguish an idea of the memory from an idea of the imagination. Not only does he state that he has found "a sensible difference betwixt one species of ideas and another" (T 9), in the parallel 170 passage in Part III, Section 5 he claims to "search for the characteristic [of the idea], which distinguishes the memory from the imagination" (T 85, Hume's emphasis). The characteristic that allows one to "distinguish them in their operation" (T 85) is the difference in the force and vivacity of the ideas involved. Ideas of the memory are "much more lively and strong than those of the imagination," "the former faculty paints its objects in more distinct colours", and ideas of the memory... (shrink)

Resumen Este artículo es resultado de una investigación exploratoria sobre escrituras de mujeres mapuche entre 1935 y 1965 presentes en periódicos mapuche, así como en órganos de difusión de instituciones de educación y revistas de movimientos sociales. Los objetivos de esta investigación son revisar los elementos históricos que posibilitaron el surgimiento de esta prosa particular de mujeres y desglosar los aspectos centrales tratados en ella, en particular la relación con los derechos civiles, la demanda por la educación y la lucha (...) contra el racismo. El artículo nace de una investigación realizada en archivos de prensa en la Biblioteca Nacional de Chile y documentos en el Museo de la Educación Gabriela Mistral, así como una breve revisión en el Archivo Regional de La Araucanía. Abstract This paper is the result of an exploratory research about Mapuche women's writings between 1935 and 1965 available in Mapuche newspapers, as well as in educational institutions and journals of social movements. The goals of this research are to review the historical elements that allow the emergence of the women’s prose, and to break down the central aspects of these writings, specifically, the relationship with civil rights, the demand for education and the fight against racism. The article arises from a study carried out in press archives in the National Library of Chile and documents in the Gabriela Mistral Museum of Education, as well as brief research in the Regional Archive of Araucanía. (shrink)

During the communist era, Radio Free Europe (RFE) was Romania's favorite radio station. This paper analyzes the role of RFE in everyday life in the strictly controlled Romanian communist state by looking at the broadcasts of RFE's Romanian Department, their audience, and their impact. Drawing largely on the RFE archives at the Vera and Donald Blinken Open Society Archives (OSA) and the former secret police files at the National Council for the Study of the Securitate Archives (CNSAS), it investigates (...) how radio waves mediated and channeled information while preparing people to embrace political and cultural change. The paper focuses on the circulation of knowledge, media confluences, and human agency. The rituals that developed around the secrecy which governed the listening process, the personal requests, attitudes, and opinions expressed in letters to RFE, and oral and written testimonies, coupled with the disproportionate and, at times, extreme reactions of the communist state, together reveal the carving out of individual spaces that allowed for the preservation of the “self” during Nicolae Ceausescu's dictatorship. At such critical historical moments, the connection became visible. Through an analysis of recent media representations in which RFE figures, such as Cold Waves, this study also looks at how RFE shaped personal memories of communist times. (shrink)

In German archival terminology, the term Akte (file) as the basic unit of storage corresponds with its actualization as discursive (re-)action: the word ‘acts’ can designate at once the content of what is to be archived and the archive itself (Derrida, 1995: 17). Whereas the network of Prussian state archives from post-Napoleonic Germany until the First World War figured as a non-discursive juridical Read Only Memory of internal autopoetic bureaucracy, the German Weimar Republic sought to develop a more democratically (...) transparent archival information politics. This remained, however, for the most part an aspiration of the new political culture, and it was never systematically adopted by state institutions. By contrast, the National Socialist regime was the first to make use of archival memory in a partisan, active manner; Akten were actively instrumentalized as part of the programme for the annihilation of European Jewry. This article, based on the German state archives and also on a case-study concerning the ideologization of the Nietzsche Archive in Weimar, examines archival micro-politics as the site of discursive repression and production, between the affirmation and the resistance of discretely segmented memory to holistic ideological demands. (shrink)

Zionist national identity in Israel is today challenged by two mutuallyantagonistic alternatives: a liberal, secular, Post-Zionist civic identity, on the one hand, and ethnic, religious, Neo-Zionist nationalistic identity, on the other. The other, Zionist, hegemony contains an unsolvable tension between the national and the democratic facets of the state. The Post-Zionist trend seeks a relief of this tension by bracketing the nationalcharacter of the state, i.e., by separation of state and cultural community/ies; the Neo-Zionist trend seeks a (...) relief of the same tension by bracketing the democratic nature of the state, i.e., by consolidating the Jewish ethno-national character of the state. The focus of the study is upon two dimensions of this unfolding cultural-political strife: the conflicting perceptions of time and space, and the ways they affect the perceptions of the boundaries of the collectivity, either in an inclusionary manner (the ``post'') or in an exclusionary manner (the ``neo''). (shrink)

Philosophical theories of memory rarely distinguish between importantly different sorts of memory: procedural, semantic and episodic. I argue for a temporal representation theory to explain the unique characteristic of episodic memory as the only form of conscious memory. A careful distinction between implicit and explicit representation shows how the past figures in memory. In procedural and semantic memory, the influence of the past is implicit by which I mean that the past experience is used but not represented in the skill (...) or knowledge. Episodic memory, in contrast, depends on representing a past experience as past. On a temporal representation theory of consciousness, a conscious state represents the present moment, and in the case of episodic memory, it includes a representation of past experience. The embedded account of the ‘feeling of pastness’ takes past experience to be part of the explicit content of a conscious state. An episodic memory is a representation of the present that includes a representation of the past. Whereas a higher-order theory of consciousness can give no reason why only episodic memories are conscious, a temporal theory explains why episodic memories are both higher-order and conscious. Finally, I consider the essential role of episodic memory in the formation of a temporally extended self. The demands of a social environment motivate development of an ability to track the mental states of others and oneself over time. By incorporating past experience (and future experience) into the present, episodic memory extends experience in time to form the sense of self. Through a careful examination of the function of temporal representation, we can see why the past is not consciously represented in procedural and semantic memory and the value of consciously representing the past in episodic memory. (shrink)

In the verbal domain, there is only very weak evidence favoring the view that working memory is an active state of long-term memory. We strengthen existing evidence by reviewing two recent fMRI studies of verbal working memory, which clearly demonstrate activation in the superior temporal lobe, a region known to be involved in processing speech during comprehension tasks.