The Heythrop Journal, Volume 63, Issue 3, Page 425-437, May 2022.

At the centre of theories of film form is the idea that the montage of different scenes produces cinematic time. Montage creates a conflict between different shots, and time (as a purely functional relationship between shots) arises out of montage as an abstract element.

Andrei Tarkovsky’s 1983 masterpiece Nostalghia allows us to rethink our ordinary notion of nostalgia and move beyond the idea of nostalgia as sentimental longing for the past, the fruitless yearning that allows us to avoid living in the present. The film suggests that nostalgia can help us notice that which is not a part of our current situation and to introduce new threads into the fabric of our world. Because of nostalgia, we become aware of perforations in the (...) existing order of things and, as a result, become capable of altering the status quo. The protagonist of Tarkovsky’s film, Gorchakov, a Russian poet visiting Italy, shows us that nostalgia is a violent voyage that never leads home but only helps us find and found a new–and always temporary–dwelling place. Nostalgia, then, is a journey to the home that never was, but to the home that might be. The final sequence of the film beautifully confirms this by placing Gorchakov next to his Russian home that turns out to be inside the ruins of the Cistercian abbey of San Galgano in Italy. This cinematic merging of two very different places and cultures creates a new world for Gorchakov and asks us to continue creating the places in which we happen to find ourselves today. (shrink)

In this chapter, I argue that the films of Andrei Tarkovsky are particularly suitable for inducing feelings of the numinous. This suitability is a formal rather than semantic feature of his films, and is tied indelibly to what film scholars call ‘suture’. I with a summary of what film theorists mean by ‘suture’, before providing a principled defence of the Merleau-Pontian suture theory outlined by George Butte. Second, I will demonstrate that, in spite of the strength of Butte’s (...) formulation, the numinousness of Tarkovsky’s films pose an analytical challenge to his suture theory. Finally, I will then provide my own extension of Butte’s suture theory, arguing that, by virtue of the formal properties they possess, we encounter Tarkovsky’s films more like religious objects than ordinary films. The tenor of these encounters is why Tarkovsky’s films are appropriate loci for feelings of the numinous. (shrink)

In this paper, I offer a reconsideration of the complex concept of mimesis, as it is deployed in the critical theory of Theodor W. Adorno, which, I argue, provides some interesting and original avenues through which we may interpret some of the infinitely engaging if enigmatic films of Andrei Tarkovsky. The paper is divided into two parts. In the first, I explore Adorno's development and usage of the concept of mimesis, as well as the latter's fall into disfavour (...) since Habermas's influential 'communicative turn'. In the second part, I undertake to read some of Tarkovsky's work in an Adornian vein, with the hope of reconfiguring mimesis as a valuable and fruitful concept in understanding the somatic and extra-discursive elements within communication. What I call Tarkovsky's 'mimetic method' can be seen to follow Adorno's epistemological principle of the 'preponderance of the object', while testifying to the mimetic potential of non-discursive communication. In so doing, Tarkovsky's filmic work - with Adorno's critical theory - refutes the purely linguistic/discursive grounds of Habermasian communication. This implicit refutation works on two levels. It enacts forms of mimetic construction, at the first level, and calls forth acts of interpretation and mimetic reception, at the second. I argue that these features are in need of greater attention and elaboration. The works of Adorno and Tarkovsky, in my view, provide useful grounds for challenging and enhancing existing understandings of aesthetic and philosophic communication, by more fully appreciating their interconnectedness and complementarity. (shrink)

The science fiction films of Andrei Tarkovsky, Solaris (1973) and Stalker (1979), are complex responses to the repressive atmosphere of Brezhnev’s rule, after the 7-year delay in seeing Andrei Rublev (1971) released publicly. By using science fiction—a genre that Tarkovsky openly maligned—he was able to fly beneath the radar of State censorship, and develop a nuanced response to the application of Marxist theory of religion in the Soviet experience. Arguing in these films (and in others in (...) his oeuvre) that humans still need the affective dimension of religion (though not the hierarchical, institutional elements of it that Marx had identified with sedation), Tarkovsky hid within his science fiction films a thoroughgoing critique of the Soviet application of Marx. This article uses the concept of “war machine” from the philosophy of Gilles Deleuze and Félix Guattari to analyze how Tarkovsky did this, and demonstrates that Tarkovsky’s engagement with Marx’s philosophy in these two films shares much in common with Deleuze and Guattari’s way of understanding human meaning making. (shrink)

En su libro The Cinematic Footprint (2012), la teórica de los estudios sobre el cine Nadia Bozak propone un análisis de la producción cinematográfica basado en su relación con los consumos y los recursos naturales de los que ésta depende. Desde este punto de vista, este artículo parte de tres escenas de la filmografía del realizador ruso Andrei Tarkovsky para examinar, desde las condiciones materiales de su producción, un campo de interacciones entre imagen y transformación del paisaje más (...) allá de la representación. El trabajo de Tarkovsky es entonces analizado en este texto desde el marco de las relaciones trabadas a lo largo del siglo XX entre imagen, extractivismo y crecimiento vegetal. En particular, los planos examinados son puestos en relación con programas de colonización agraria, agricultura de precisión y técnicas de reforestación como el bombardeo de semillas. El contraste entre la naturaleza extractivista de la mediación por la imagen en estos casos y el carácter de "práctica de cine vegetal" con el que ha sido descrito el cine de Tarkovsky (Uhlin 2015) invitan a rearticular la diferencia entre imagen y crecimiento vegetal en términos de los llamados "medios elementales" introducidos durante la última década en el ámbito de la teoría de los medios. (shrink)

En la película de Andrei Tarkovski _Sacrificio_ el mundo vive una amenaza de III Guerra Mundial apocalíptica, a la vez que las relaciones familiares del protagonista se hallan en una crisis que parece definitiva. Pero un último ritual tal vez invierta la situación. El artículo argumenta que el planteamiento y la cosmovisión de este gran clásico del cine pueden interpretarse según los códigos simbólicos de la alquimia, empapados de teología cristiana y de la mitología y la cosmología de la (...) Antigüedad, con Hermes como patrón, aunque el director lo lograra de una manera probablemente involuntaria, debido a sus intereses poéticos y espirituales. (shrink)

In this article I examine Andrei Tarkovsky’s 1962 film Ivan’s Childhood. The film tells a story about a twelve-year old Russian boy, whose family was killed by the Germans at the onset of WWII. Orphaned and dispossessed, Ivan began to scout for the Soviet troops. Eventually, he was captured, tortured and executed by the Gestapo. Using a wide gamut of mythopoetic “articulations,” in this film, Tarkovsky shows how Ivan’s victimization affected him beyond repair, leading to the erosion (...) of his child identity and the emergence of a traumatic duality. The film therefore is not only a poignant condemnation of the war, but a disclosure of the victim phenomenon carried out by mythopoetic means. In my analysis of Ivan’s Childhood, I approach this phenomenon by focusing on the effects of trauma on the child, with a special emphasis on dreaming. For my theoretic, I employ the phenomenology of the child. (shrink)

The aim of this article is to outline a Spinozian-Deleuzian analysis of audio-visual experience and to combine this account with an embodied cognitive perspective on cinema. Thus, film experience integrates affection and intellection and is not a passive and contemplative phenomenon, but a constructive interaction that involves a creative encounter between the screen and the viewer. Furthermore, I will address the role of sad passions and the problematic relation between creation and resistance, also by drawing upon Primo Levi’s work on (...) memory and on the shame of being human. Consequently, I will argue that my Spinozian-Deleuzian perspective involves an idea of cinema and art as ethically productive events since they allow a creative opposition against all those forces that mortify and enclose existence. Andrei Tarkovsky’s masterpiece Andrei Rublev offers the possibility to develop this discussion; in this biopic, the life of the famous Russian painter is pervaded by problematic questions upon the nature of God, the necessity of Evil, the role of art within a world of violence and misery and, at the same time, the tension and the marvel in the discovery of the real. Following the ideas on spectatorship outlined by Deleuze and combined with Spinoza’s thought, we can say that the film makes us perceive these issues through the embodiment and the engagement of the relations it describes. At the same time, the movie gives us the possibility to re-discuss these terrible questions revealing the active and productive nature of art, as different sequences (like the enigmatic prologue) demonstrate. A further aim of this article is, then, to show how this assemblage of different concepts is possible through the vivid and interactive dimension of film experience. (shrink)

The aim of this article is to outline a Spinozian-Deleuzian analysis of audio-visual experience and to combine this account with an embodied cognitive perspective on cinema. Thus, film experience integrates affection and intellection and is not a passive and contemplative phenomenon, but a constructive interaction that involves a creative encounter between the screen and the viewer. Furthermore, I will address the role of sad passions and the problematic relation between creation and resistance, also by drawing upon Primo Levi’s work on (...) memory and on the shame of being human. Consequently, I will argue that my Spinozian-Deleuzian perspective involves an idea of cinema and art as ethically productive events since they allow a creative opposition against all those forces that mortify and enclose existence. Andrei Tarkovsky’s masterpiece Andrei Rublev offers the possibility to develop this discussion; in this biopic, the life of the famous Russian painter is pervaded by problematic questions upon the nature of God, the necessity of Evil, the role of art within a world of violence and misery and, at the same time, the tension and the marvel in the discovery of the real. Following the ideas on spectatorship outlined by Deleuze and combined with Spinoza’s thought, we can say that the film makes us perceive these issues through the embodiment and the engagement of the relations it describes. At the same time, the movie gives us the possibility to re-discuss these terrible questions revealing the active and productive nature of art, as different sequences (like the enigmatic prologue) demonstrate. A further aim of this article is, then, to show how this assemblage of different concepts is possible through the vivid and interactive dimension of film experience. (shrink)

According to traditional Judeo-Christian-Islamic theism, God is an omniscient, omnipotent, and morally perfect agent. This volume shows that philosophy of religion needs to take seriously alternative concepts of the divine, and demonstrates the considerable philosophical interest that they hold.

In the wake of the considerable cultural changes and social shifts that the United States and all advanced industrial democracies have experienced since the late 1960s and early 1970s, social discourse around the disempowered has changed in demonstrable ways. In From Property to Family: American Dog Rescue and the Discourse of Compassion, Andrei Markovits and Katherine Crosby describe a “discourse of compassion” that actually alters the way we treat persons and ideas once scorned by the social mainstream. This “culture (...) turn” has also affected our treatment of animals inaugurating an accompanying “animal turn”. In the case of dogs, this shift has increasingly transformed the discursive category of the animal from human companion to human family member. One of the new institutions created by this attitudinal and behavioral change towards dogs has been the breed specific canine rescue organization, examples of which have arisen all over the United States beginning in the early 1980s and massively proliferating in the 1990s and subsequent years. While the growing scholarship on the changed dimension of the human-animal relationship attests to its social, political, moral and intellectual salience to our contemporary world, the work presented in Markovits and Crosby’s book constitutes the first academic research on the particularly important institution of breed specific dog rescue. (shrink)

This book provides an original and challenging perspective of religions as abstract complex adaptive systems, using an interdisciplinary approach to try to understand what religions are and how they function, two fundamental issues which, despite an intense struggle from several fields, have not yet been resolved. What is the source of religious belief? How do religions work and what are they made of? Why is religion so important for us that it has survived centuries of scientific progress and secularization? Why (...) are people religious even outside religion? The book addresses these questions using an interdisciplinary approach that seeks to untangle the Gordian knot of defining religion. In short, they can be considered entropy-reducing technologies. What differentiates them from other meaning-producing systems is their configuration which employs specific building blocks as tools for mitigating entropy, which are also subsystems and combine in various ways to build a unique configuration: rituals, myths, taboos, supernatural agents, authority, identity, superstitions, moral obligations, afterlife beliefs and the sacred. As a reaction to perturbances or pressure, systems can collapse. Inspired by Nicholas Nassim Taleb, it is, in this book, referred to as fragility—the negative reaction of systems to random events, and four parameters can be used to evaluate it in religious systems: monotonicity (the inability to learn from past mistakes), coupling (linking with other systems: such as political or economic), centralization and stress starvation. Several case studies are provided in order to test the theoretical claims made in this book, based on the author's field research in Romania, Japan, North Korea and Mongolia, and offering details that could be of interest to casual readers, students and researchers of religion. (shrink)

Digital inequality and digital justice are pressing issues in today's world. This work examines the socio-philosophical aspects of these problems and proposes measures to achieve digital justice. The authors draw attention to the fact that digital inequality can manifest itself in various forms, such as access to information, technology and resources, as well as opportunities to participate in the digital economy. This can lead to increased social inequalities and limited opportunities for the development of individuals and society as a whole. (...) To achieve digital justice, the authors propose a number of measures, such as improving access to digital technologies and resources, ensuring equal opportunities to participate in the digital economy, and protecting consumer rights and data privacy. They also draw attention to the need to promote digital literacy and education so that people can make effective use of digital technologies and resources. The authors also examine digital inequality and digital justice in the context of monopoly and free speech. They point out that some companies that declare their social responsibility may use their monopolistic position in the market to limit freedom of speech and access to information. In this context, the authors suggest strengthening the role of the state in regulating the digital economy and protecting consumer rights. In conclusion, the research is a valuable contribution to the field of research on digital inequality and digital justice. It emphasizes the need to take into account the socio-philosophical dimensions of these issues and suggests measures to achieve digital justice. It also draws attention to the importance of cultural and historical sensitivity in the development of digital policies and resources. (shrink)

This paper examines the ability of countries in Central and Eastern Europe to ensure appropriate protection of research participants in the field of increasingly globalizing biomedical research. By applying an analytical framework for identifying gaps in policies and programs for human subjects protection to four countries of CEE—Belarus, Latvia, Lithuania, and Poland, substantial gaps in the scope and content of relevant policies and major impediments to program performance have been revealed. In these countries, public policies on the protection of research (...) participants lack consistency and reliable mechanisms for their implementation. Impediments to program performance most often relate to inadequacies in the national research ethics systems with regard to organizational structure, budgetary support, supervision, and training. The level of research ethics capacity varies from country to country and depends on socio-economic and political factors of post-communist transition. The breadth and depth of the problems identified suggest that the current level of protection for research participants in CEE might be inadequate to the challenges posed by the globalization of biomedical research. In CEE countries, there is a need for strengthening research ethics capacity through modification of relevant policies and improvement of program management. The differences among the countries call for further research on identifying the best approaches for filling the gaps in the policies and programs aimed at ensuring effective protection of research participants. (shrink)

The article analyzes the possibilities and limitations of artificial intelligence. The article considers the subjectivity of artificial intelligence, determines its necessity for solving intellectual problems depending on the possibility of representing the real world as a deterministic system. Methodological limitations of artificial intelligence, which is based on the use of big data technologies, are stated. These limitations cause the impossibility of forming a holistic representation of the objects of cognition and the world as a whole. As a tool for deterministic (...) description of the universe it is proposed to use empirical-metaphysical general theory of systems, which is an extension of existing general theories of systems due to ontological justification of the phenomenon of isomorphism and definition of a limited set of laws, rules, patterns and primitives of forms and relations of objects in the universe. The distinction of natural (human) and artificial intelligence is considered, including the realization of multisystem integration of intelligence in physical, biological, social and spiritual systems. A philosophically grounded approach to ensuring the evolutionary properties of artificial intelligence is formulated, based on the inclusion of non-equilibrium mechanisms through which stability is realized. (shrink)

Generic statements (e.g., “Birds lay eggs”) express generalizations about categories. In this paper, we hypothesized that there is a paradoxical asymmetry at the core of generic meaning, such that these sentences have extremely strong implications but require little evidence to be judged true. Four experiments confirmed the hypothesized asymmetry: Participants interpreted novel generics such as “Lorches have purple feathers” as referring to nearly all lorches, but they judged the same novel generics to be true given a wide range of prevalence (...) levels (e.g., even when only 10% or 30% of lorches had purple feathers). A second hypothesis, also confirmed by the results, was that novel generic sentences about dangerous or distinctive properties would be more acceptable than generic sentences that were similar but did not have these connotations. In addition to clarifying important aspects of generics’ meaning, these findings are applicable to a range of real-world processes such as stereotyping and political discourse. (shrink)

J. К. Galbraith begins his book on the history and current problems of money with the following statement: “There is much that is diverting in the history of money, but even more that provides a rich reflection of human behavior and human folly.”.

Aleksandr Pushkin (1799-1837) occupies a special place in the development of Russian culture. He was at the same time a great poet, the reformer of Russian literary language, a historian and a political thinker. In the enormous mass of work devoted to Pushkin, a certain number of articles are concerned with his ideas on economics and the reflection of socio-economic problems in his writing. Until now, however, this theme has been studied in only a fragmentary way and less from the (...) point of view of the professional economist than from that of a literary historian. In an attempt to enlarge and complete the idea we may have of Pushkin's economic views, I propose also to show the importance the politico-economic thought of Western Europe had for his work. One person comes to the fore when we study the subject from this angle: Nikolai Turgenev, a Decembrist, one of the “masters” of the poet's youth, who played an important role in the rapprochement of Russian and Western European cultures. (shrink)

We propose that human reasoning relies on an inherence heuristic, an implicit cognitive process that leads people to explain observed patterns (e.g., girls wear pink) in terms of the inherent features of their constituents (e.g., pink is an inherently feminine color). We then demonstrate how this proposed heuristic can provide a unified account for a broad set of findings spanning areas of research that might at first appear unrelated (e.g., system justification, nominal realism, is–ought errors in moral reasoning). By revealing (...) the deep commonalities among the diverse phenomena that fall under its scope, our account is able to generate new insights into these phenomena, as well as new empirical predictions. A second main goal of this paper, aside from introducing the inherence heuristic, is to articulate the proposal that the heuristic serves as a foundation for the development of psychological essentialism. More specifically, we propose that essentialism—which is the common belief that natural and social categories are underlain by hidden, causally powerful “essences”—emerges over the first few years of life as an elaboration of the earlier, and more open-ended, intuitions supplied by the inherence heuristic. In the final part of the paper, we distinguish our proposal from competing accounts (e.g., Strevens' K-laws) and clarify the relationship between the inherence heuristic and related cognitive tendencies (e.g., the correspondence bias). In sum, this paper illuminates a basic cognitive process that emerges early in life and is likely to have profound effects on many aspects of human psychology. (shrink)

Viebahn (2018) has recently argued that several tests for ambiguity, such as the conjunction-reduction test, are not reliable as tests for polysemy, but only as tests for homonymy. I look at the more fine-grained distinction between regular and irregular polysemy and I argue for a more nuanced conclusion: the tests under discussion provide systematic evidence for homonymy and irregular polysemy but need to be used with more care to test for regular polysemy. I put this conclusion at work in the (...) context of the debate over the alleged referential-attributive ambiguity of the definite article. In reply to various criticisms, defenders of the ambiguity view argue that this is a case of polysemy. But opponents object that the dual use of the definite article fails tests for ambiguity. The debate seems to have come to stalemate, unless the relevance of the tests is determined for cases of alleged polysemy. I conclude that the balance of considerations incline towards rejecting the ambiguity thesis. (shrink)

Mainstream political liberals hold that state coercion is legitimate only if it is justified on the grounds of reasons that all may reasonably be expected to accept. Critics argue that this public justification principle is self-defeating, because it depends on moral justifications that not all may reasonably be expected to accept. To rebut the self-defeat objection, I elaborate on the following disjunction: one either agrees or disagrees that it is wrong to impose one’s morality on others by the coercive power (...) of the state. Those who disagree reject PJP, they understand politics as war. Those who agree accept PJP, they understand politics as competition. Political competitors abide by PJP to avoid politics as war, by enforcing PJP on political combatants they engage in a war that is unavoidable. In both cases their exercise of political power has a justification that is reasonably acceptable to all. (shrink)