La revolución cubana es un proceso en el cual la producción de imágenes es parte fundamental para explicar su desarrollo histórico. A través de una fotografía de Fidel Castro, capturada por el fotorreportero español Enrique Meneses, se muestra la posibilidad de hacer una historia -en apego a la propuesta de John Mraz- con y de fotografías. Dicha representación iconográfica, toma de Fidel Castro en Sierra Maestra en los primeros meses de 1958, y que se integró en la edición (...) de un libro del mismo fotógrafo, ofrece una buena oportunidad para reflexionar sobre los aportes que tiene la iconología en el Circuncaribe, y toda América Latina. (shrink)

In 1968, Aimé Césaire travelled to Cuba to participate in the Havana Cultural Congress, a mass international meeting where delegates discussed the place of culture in the struggle against imperialism, neo-colonialism, and underdevelopment. Among the likes of C.L.R. James, Nicolás Guillén, René Depestre, Michel Leiris, and Daniel Guérin, it was in Havana that the Martinican politician undertook the until-now untranslated interview with Sonia Aratán for the Casa de las Américas revue and delivered his Cultural Congress conference paper – previously believed (...) by Césaire scholars to be lost. Both texts shed light on Césaire’s little-known views on Fidel Castro, the Cuban Revolution and Marxism in the context of late-1960s tricontinentalism. By reconstructing Césaire’s exchanges with Cuban writers before and during the Congress, we propose a consideration of the role of Cuba in Césaire’s political thought as a tragic possibility, combining the catastrophe of Caribbean history with the uncertain potential of new social forms. (shrink)

The guerrilla led by Fidel Castro and the political implications of his triumph in 1959 constitute a widely researched object of study. This text seeks to offer a reading of US responses through the construction of a geopolitical code, which aims to neutralise the revolutionary inspiration produced by the Cuban example in Latin America. The analysis draws on a series of primary sources to highlight the political, economic and diplomatic strands that shape White House foreign policy not only (...) towards Cuba, but also towards the whole of the region. (shrink)

Este artículo analiza una fotografía de Fidel Castro que es muy lejana a la etapa épica del guerrillero, pero que forma parte de la iconografía en torno a este personaje. Se trata de un retrato de Fidel a los tres años, tomado en Birán, en 1929, estudiado con el objeto de comprender los intereses y las inten ciones alrededor de su producción, así como los usos actuales de esa misma imagen. Partiendo de la consideración de la fotografía como (...) una práctica social y cultural que integra significados, ella debe ser incorporada en el estudio de la historia como un documento que permite aportar información de sus contextos de producción y reproducción. A partir de estas consideraciones, se pudo observar el significado de la representación iconográfica de Fidel a los tres años, quien fue fotografiado utilizando convenciones que resaltaban las favorables condiciones económicas de las que gozaba la familia Castro Ruz, sin embargo, la investigación revela que se le han añadido significados en sus posteriores usos, producto de intereses políticos en torno a la trayectoria guerrillera de Fidel. (shrink)

Focusing on philosophy’s roles in problem solving, this essay proposes a philosophy curriculum for a university “universalized” according to a Cuban model. This model arises from Fidel Castro Ruz’s “dream” that the Cuban nation itself should become a university for its people. The paper’s immediate stimulus was aVenezuelan paper on rural universalized universities at the Havana conference on university education, Universidad 2008. What should be the place of philosophy in a university curriculum for rural students? In the (...) idiom of Richard Rorty, philosophy is the collection of stories we tell ourselves for guidance through life. Philosophy’s critical function is to generate new stories when old ones fail to solve the problems that gave birth to them. The essay’s three parts address three levels of generality in philosophical reflection. The most general philosophical theories, such as Marxism or pragmatism, offer wholesale guidelines for life. More specific theories direct the practices of narrow subjects, such as physics, psychology, or economics. The most specific theories focus on the nexus of theoryand practice in solving life’s most concrete problems. The essay advocates a philosophy curriculum that contrasts students’ current philosophies with alternatives from the history of thought. Students absorb philosophies from the cultures in which they are raised. When students understand the accidental nature of their guiding thoughts, they are motivated to reflect critically on historical alternatives. When students study how to solve their problems using more specific disciplines like the arts and sciences, the history of the philosophies of those subjects will help them understand their freedom to choose among alternative solutions. When students reflect on the daily problems they must solve, attention to the connections of theory and practice can amplify their range of choices. (shrink)

First published in Spanish in 2006, _Twenty Theses on Politics_ is a major statement on political philosophy from Enrique Dussel, one of Latin America’s—and the world’s—most important philosophers, and a founder of the philosophy of liberation. Synthesizing a half-century of his pioneering work in moral and political philosophy, Dussel presents a succinct rationale for the development of political alternatives to the exclusionary, exploitative institutions of neoliberal globalization. In twenty short, provocative theses he lays out the foundational elements for a politics (...) of just and sustainable coexistence. Dussel first constructs a theory of political power and its institutionalization, taking on topics such as the purpose of politics and the fetishization of power. He insists that political projects must criticize or reject as unsustainable all political systems, actions, and institutions whose negative effects are suffered by oppressed or excluded victims. Turning to the deconstruction or transformation of political power, he explains the political principles of liberation and addresses matters such as reform and revolution. _Twenty Theses on Politics_ is inspired by recent political transformations in Latin America. As Dussel writes in Thesis 15, regarding the liberation praxis of social and political movements, “The winds that arrive from the South—from Nestor Kirchner, Tabaré Vásquez, Luiz Inácio Lula da Silva, Evo Morales, Hugo Chávez, Fidel Castro, and so many others—show us that things can be changed. The _people _must reclaim sovereignty!” Throughout the twenty theses Dussel engages with Latin American thinkers and activists and with radical political projects such as the World Social Forum. He is also in dialogue with the ideas of Marx, Hegel, Habermas, Rawls, and Negri, offering insights into the applications and limits of their thinking in light of recent Latin American political thought and practice. (shrink)

First published in Spanish in 2006, _Twenty Theses on Politics_ is a major statement on political philosophy from Enrique Dussel, one of Latin America’s—and the world’s—most important philosophers, and a founder of the philosophy of liberation. Synthesizing a half-century of his pioneering work in moral and political philosophy, Dussel presents a succinct rationale for the development of political alternatives to the exclusionary, exploitative institutions of neoliberal globalization. In twenty short, provocative theses he lays out the foundational elements for a politics (...) of just and sustainable coexistence. Dussel first constructs a theory of political power and its institutionalization, taking on topics such as the purpose of politics and the fetishization of power. He insists that political projects must criticize or reject as unsustainable all political systems, actions, and institutions whose negative effects are suffered by oppressed or excluded victims. Turning to the deconstruction or transformation of political power, he explains the political principles of liberation and addresses matters such as reform and revolution. _Twenty Theses on Politics_ is inspired by recent political transformations in Latin America. As Dussel writes in Thesis 15, regarding the liberation praxis of social and political movements, “The winds that arrive from the South—from Nestor Kirchner, Tabaré Vásquez, Luiz Inácio Lula da Silva, Evo Morales, Hugo Chávez, Fidel Castro, and so many others—show us that things can be changed. The _people _must reclaim sovereignty!” Throughout the twenty theses Dussel engages with Latin American thinkers and activists and with radical political projects such as the World Social Forum. He is also in dialogue with the ideas of Marx, Hegel, Habermas, Rawls, and Negri, offering insights into the applications and limits of their thinking in light of recent Latin American political thought and practice. (shrink)

O embate do encontro: o currículo cultural da educação física como lugar de conflitos Resumo: Neste artigo, tenciona-se aproximar, problematizar e refletir sobre a relação entre duas divindades gregas: Dionísio e Apolo - e o Currículo Cultural da Educação Física. Buscamos amparo metodológico na criação filosófico conceitual, pois sua utilização pode redesenhar relações estabelecidas e permitir jogar com elementos distintos e, inicialmente, não aproximáveis. Influenciados por Dionísio, ao final, trazemos duas criações pedagógicas a fim de transgredir os limites dados pelo (...) "excesso de Apolo" na escrita acadêmica.Palavras-chave: Educação Física; Currículo Cultural; Filosofia. The fight of the meeting: the curriculum of physical education as a place of conflicts: In this article, we intend to approximate the relationship between two Greek deities: Dionysus and Apollo - and the Cultural Curriculum of Physical Education. We seek methodological support in the conceptual philosophical creation, as its use can redesign established relationships and allow us to play with different and, initially, not approximable elements. Influenced by Dionísio, at the end, we bring two pedagogical creations in order to transgress the limits given by the "excess of Apollo" in academic writing.Keywords: Physical Education; Cultural Curriculum; Philosophy. La lucha de la reunión: el currículo cultural de la educación física como lugar de conflictos Resumén: En este artículo, tenemos la intención de aproximar la relación entre dos deidades griegas: Dioniso y Apolo, y el Currículo Cultural de Educación Física. Buscamos apoyo metodológico en la creación filosófica conceptual, ya que su uso puede rediseñar las relaciones establecidas y nos permite jugar con elementos diferentes e, inicialmente, no aproximables. Influenciado por Dionísio, al final, traemos dos creaciones pedagógicas para transgredir los límites dados por el "exceso de Apolo" en la escritura académica.Palabras clave: Educación Física; Curriculum Cultural; Filosofia Data de registro: 02/03/2020Data de aceite: 05/08/2020. (shrink)

The author recalls his encounters with Jean-Paul Sartre in Cuba and Moscow, during the 1960s. Sarte?s views on Castro, the Cuban and Russian revolutions, as well as Sartre?s behaviours in the different countries he visited, are lively evoked in this short first-hand portrait.

Is the societal-level of analysis sufficient today to understand the values of those in the global workforce? Or are individual-level analyses more appropriate for assessing the influence of values on ethical behaviors across country workforces? Using multi-level analyses for a 48-society sample, we test the utility of both the societal-level and individual-level dimensions of collectivism and individualism values for predicting ethical behaviors of business professionals. Our values-based behavioral analysis indicates that values at the individual-level make a more significant contribution to (...) explaining variance in ethical behaviors than do values at the societal-level. Implicitly, our findings question the soundness of using societal-level values measures. Implications for international business research are discussed. (shrink)

This article provides current Schwartz Values Survey (SVS) data from samples of business managers and professionals across 50 societies that are culturally and socioeconomically diverse. We report the society scores for SVS values dimensions for both individual- and societal-level analyses. At the individual-level, we report on the ten circumplex values sub-dimensions and two sets of values dimensions (collectivism and individualism; openness to change, conservation, self-enhancement, and self-transcendence). At the societal-level, we report on the values dimensions of embeddedness, hierarchy, mastery, affective (...) autonomy, intellectual autonomy, egalitarianism, and harmony. For each society, we report the Cronbach’s α statistics for each values dimension scale to assess their internal consistency (reliability) as well as report interrater agreement (IRA) analyses to assess the acceptability of using aggregated individual level values scores to represent country values. We also examined whether societal development level is related to systematic variation in the measurement and importance of values. Thus, the contributions of our evaluation of the SVS values dimensions are two-fold. First, we identify the SVS dimensions that have cross-culturally internally reliable structures and within-society agreement for business professionals. Second, we report the society cultural values scores developed from the twenty-first century data that can be used as macro-level predictors in multilevel and single-level international business research. (shrink)

In Eros and Revolution, Javier Sethness Castro presents a comprehensive intellectual and political biography of the critical theorist Herbert Marcuse (1898-1979), investigating the Hegelian-Marxist, Romantic, existentialist, social-psychological, and anti-authoritarian dimensions of his thought, as well as his contemporary relevance.

In the three previous chapters we mapped out Žižek’s philosophical thinking—territory in which we situated his critique of “postmodern historicism”, as well as his bleak assessment of the struggles of the contemporary left. We have also examined his theory of revolution and his recourse to Christianity as a paradigm for communist brotherhood that may well function as a real alternative to capitalism. Throughout this interpretative and reconstructive exercise, I subjected Žižek’s proposals to a hail of critical questions and commentary, on (...) which I have not yet adequately elaborated. This will precisely be the task that I will undertake in the last two chapters of the book. Our starting point will be to pick up on some of Žižek’s central ideas with which I agree, while taking them to a philosophical terrain that will help us avoid their fatidic consequences: the avowal of subjectless revolutions. I am referring to two Žižekian motifs that are worth reconsidering: the ontology of incompleteness and the universal dimension of politics. Our goal is to “de-Lacanize” those concepts and to see how they could operate in a different kind of political ontology that does not resort to the figure of a transcendental subject, and that renders power as an inescapable condition of experience. I would then like to articulate the two aforementioned concepts with a third one—the Gramscian notion of hegemony—but read alongside the work of Ernesto Laclau and Chantal Mouffe. The purpose of this exercise is to create the conceptual conditions to formulate an emancipatory theory of democracy—a matter that will be taken up in the following chapter. (shrink)

Humanity's creative role within the living pattern of nature. Explores important scientific discoveries that reveal the self-organizing intelligence at the heart of nature. Examines the idea of a living cosmos from its roots in the earliest cultures, to its eclipse during the Scientific Revolution, to its return today. Reveals ways to reengage our creative partnership with nature and collaborate with nature's intelligence. For millennia the world was seen as a creative, interconnected web of life, constantly growing, developing, and restoring itself. (...) But with the arrival of the Scientific Revolution in the 16th and 17th centuries, the world was viewed as a lifeless, clock-like mechanism, bound by the laws of classical physics. Intelligence was a trait ascribed solely to human beings, and thus humanity was viewed as superior to and separate from nature. Today new scientific discoveries are reviving the ancient philosophy of a living, interconnected cosmos, and humanity is learning from and collaborating with nature's intelligence in new, life-enhancing ways, from ecological design to biomimicry. Drawing upon the most important scientific discoveries of recent times, David Fideler explores the self-organizing intelligence at the heart of nature and humanity's place in the cosmic pattern. He examines the ancient vision of the living cosmos from its roots in the "world soul" of the Greeks and the alchemical tradition, to its eclipse during the Scientific Revolution, to its return today. He explains how the mechanistic worldview led to humanity's profound sense of alienation, for if the universe only functioned as a machine, there was no longer any room for genuine creativity or spontaneity. He shows how this isn't the case and how, even at the molecular level, natural systems engage in self-organization, self-preservation, and creative problem solving, mirroring the ancient idea of a creative intelligence that exists deep within the heart of nature. Revealing new connections between science, religion, and culture, Fideler explores how to reengage our creative partnership with nature and new ways to collaborate with nature's intelligence. (shrink)

El presente artículo discute sobre la inclusión del contrarrevolucionario Joseph de Maistre en la problemática categoría de reaccionario político, pero sostiene que se trata de un conservador. Para llevar a cabo este objetivo, se hace un análisis de tipo teórico de acuerdo con las exigencias de la hermenéutica textual y considerando los aportes de la historia de las ideas y de la historia conceptual. Con esto en mente, en la primera parte de este trabajo se detectan los problemas del uso (...) del concepto de reacción para la teoría política y se demuestra su injustificada aplicación al pensamiento de De Maistre. En la segunda parte, se despliega el concepto de conservadurismo sustantivo para definir la corriente conservadora con vistas a, en la tercera parte, reconsiderar su obra a partir del marco conceptual presentado. Se concluye la conveniencia heurística de la categoría propuesta para la comprensión del autor saboyano. (shrink)

Taking for granted that Marx’s economic theory enjoys a scientific status and, furthermore, that it installed a real Copernican revolution in sociology, the present paper explores the possibility of deriving a system of law deserving the name of “scientific” in so far as it would be in keeping with the theses of the latter scientific theory. In this context, the paper argues against a claim recently sustained by Fernández Liria and Alegre Zahonero, for whom a system of right compatible with (...) Marx’s theory would be compatible, too, with the classic juridical formulations conceived during the Enlightenment. The main reason why this paper testifies against such compatibility is that the enlightened concepts of “equality”, “liberty” and “autonomy” count with the individual as the realm for their juridical application. However, Marx’s subject matter being the social means of production (and not the individuals’ production of value), we conclude that the only juridical subject that could justifiably be derived from his economic investigation would be the “social class”. Finally, the paper suggests that the only way a scientific system of law could grant a juridical status to the individual would be by taking into account the other theory that also installed a Copernican revolution in the social sciences, though this time in the field of psychology: Freud’s psychoanalysis. Key words: Copernican revolution, science, scientific. (shrink)

Se exponen las prácticas docentes de las educadoras de párvulos, que cumplen una función reproductora del nacionalismo que es internalizado en las niñas y niños como la ciudadanía chilena. Para ello, configuran un escenario lúdico que ritualiza la conducta cívica y patriótica, por medio de conmemoraciones cívicas fundadas en el belicismo de la guerra del Pacífico, sin considerar la realidad cosmopolita y de diversidad cultural presente en las aulas nortinas. A partir de esto, proponemos una nueva perspectiva respecto de la (...) realización de actos cívicos en la educación parvularia, para hacerlos más inclusivos y acordes a la realidad cultural de la región de Tarapacá, la más multicultural de Chile. This paper describes the teaching practices of pre-school teachers who play a reproductive role of nationalism internalized in children as Chilean citizenships. This happens as the result of a ludic scenario that ritualizes civic and patriotic conduct, through civic commemorations based on the Pacific war, regardless both the cosmopolitan reality and cultural diversity present in classrooms in the Northern part of Chile. Considering this, we propose a new perspective on conducting civic events in early childhood education, to make them more inclusive and consistent with the cultural reality of the region of Tarapacá, Chile's most multicultural region. (shrink)

From the most prominent thinkers in Latin American philosophy, literature, politics, and social science comes a challenge to conventional theories of globalization. The contributors to this volume imagine a discourse in which revolution requires no temporalized march of progress or takeovers of state power but instead aims at local control and the material conditions for human dignity.

The underlying assumption of Lukács’ History and Class Consciousness is that “history” can be understood as a unified and meaningful meta-narrative, which can be read along the lines of a realist novel. Although the future is not guaranteed, the present contains “objective possibilities” which can be identified and realized through activist intervention in the world by those who are destined to “make” history, the proletariat. In the intervening century since the Russian Revolution, it has become impossible to read “history” as (...) a singular, triumphalist story leading to human emancipation or identify any one group as its subjective agent. To salvage the revolutionary potential of Lukács’ work, it has been read instead in terms of “fidelity to the Event” by such latter-day Leninists as Alain Badiou and Slavoj Žižek. But their recourse to a meta-historical notion of pre-figuration and future realization is itself no less beholden to a literary or rhetorical device, that of figura, which was traced by Erich Auerbach in originally religious terms. (shrink)

Resenha dos livros Aisthesis. Cenas do regime estético da arte e Le temps du paysage. Aux origines de la révolution esthétique, de Jacques Rancière. De As três fontes das filosofias da história, de Bertrand Binoche, e de A filosofia da fisiocracia: Metafísica, política, economia, de Thiago Vargas. Conta ainda com uma resenha da 34ª Bienal de São Paulo.

The aim of this paper is to question the objectivist conception of photography by confronting it with the history – and epistemology – of the painted image. I suggest that the idea of photography as an objective testimony seems to rest upon a phenomenon already described by ancient rhetoric – enargeia, which Cicero latinized into evidentia. Thus the question is raised whether the objectivity of the photographic image is not the mere continuation of an old rhetorical and pictorial tradition about (...) the epistemic-rhetoric evidentia of testimony. Moreover, through the detailed analysis of two paintings by Jan Van Eyck – The Arnolfini Portrait and Léal Souvenir –, I argue that what guarantees an image’s objectivity to the point of its being accepted as evidence ultimately is not the non-subjective mechanical process or the automatic indexical device used to make the photographic image but the image’s built-in pledge of faithfulness which was at the heart of painters’ thoughts long before the invention of photography. (shrink)

An important topic in evolutionary art is the development of systems that can mimic the aesthetics decisions made by human begins, e.g., fitness evaluations made by humans using interactive evolution in generative art. This paper focuses on the analysis of several datasets used for aesthetic prediction based on ratings from photography websites and psychological experiments. Since these datasets present problems, we proposed a new dataset that is a subset of DPChallenge.com. Subsequently, three different evaluation methods were considered, one derived from (...) the ratings available at DPChallenge.com and two obtained under experimental conditions related to the aesthetics and quality of images. We observed different criteria in the DPChallenge.com ratings, which had more to do with the photographic quality than with the aesthetic value. Finally, we explored learning systems other than state-of-the-art ones, in order to predict these three values. The obtained results were similar to those using state-of-the-art procedures. (shrink)

A comprehensive look at photography's most dynamic era, this book surveys the rich variety of innovation that characterised the 1930s, exploring the aesthetic and cultural achievements of leading photographers and mapping the impact on the ...

Antônio de Castro Alves was born on 1 March 1847 on the Fazenda das Cabaceiras (Cabaceiras Farm) in the state of Bahia, and died in July 1871 in Salvador, the state capital. For this short twenty-four year span of his life he represented, as no one else in Brazil did, the myth of the Romantic poet and hero.His literary vocation became clear very early on. Coming from a well-to-do family, he studied law in Recife (the capital of Pernambuco), Salvador and (...) São Paulo. He fell in love with a Portuguese actress, Eugênia Câmara, ten years older than himself, and had the deep experience of a love affair with her that shocked the moral provincialism of contemporary Catholic monarchist Brazil. Like many writers of the period he wrote plays, and had great success with the drama Gonzaga, or the Minas Revolution, about the (abortive) attempt to free Brazil from the Portuguese yoke, which had been made in Minas Gerais in the eighteenth century. But it was in poetry – Espumas flutuantes (‘Floating Foam’, 1870) as well as the posthumous A cachoeira de Paulo Alfonso (‘Paulo Alfonso's Waterfall’, 1876) and Os escravos (‘The Slaves’, 1883) – that Castro Alves stood out on the country's literary scene. (shrink)

This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new striking (...) type of photographic camera, announced in early 2012 by Lytro, Inc., namely, the so-called ?Light Field Camera?, which is said to represent a revolution in the photographic world. Indeed, unlike in the case of any previously available cameras, the photographs produced by a Light Field Camera can be re-focused after the photograph has been taken, which harbours many interesting consequences with regard to the resulting image and the way we interact with it. But of course, the initial question also arises in the case of traditional film photography as well as ?traditional? digital photography. The question amounts to asking about what the essential features of photographs are ? in short, what their nature is. (shrink)

Antônio de Castro Alves was born on 1 March 1847 on the Fazenda das Cabaceiras (Cabaceiras Farm) in the state of Bahia, and died in July 1871 in Salvador, the state capital. For this short twenty-four year span of his life he represented, as no one else in Brazil did, the myth of the Romantic poet and hero.His literary vocation became clear very early on. Coming from a well-to-do family, he studied law in Recife (the capital of Pernambuco), Salvador and (...) São Paulo. He fell in love with a Portuguese actress, Eugênia Câmara, ten years older than himself, and had the deep experience of a love affair with her that shocked the moral provincialism of contemporary Catholic monarchist Brazil. Like many writers of the period he wrote plays, and had great success with the drama Gonzaga, or the Minas Revolution, about the (abortive) attempt to free Brazil from the Portuguese yoke, which had been made in Minas Gerais in the eighteenth century. But it was in poetry – Espumas flutuantes (‘Floating Foam’, 1870) as well as the posthumous A cachoeira de Paulo Alfonso (‘Paulo Alfonso's Waterfall’, 1876) and Os escravos (‘The Slaves’, 1883) – that Castro Alves stood out on the country's literary scene. (shrink)

Though photography reaches as far back as the sixteenth-century’s camera obscura projects, it wasn’t until the British colonial period that amateur photographers introduced their technology to the Indian subcontinent. By the end of the nineteenth century, however, India was at the center of a representational revolution. Was photography in India simply a void, waiting to be filled by pre-existing cultural and historical practice? Or was it disruptive, throwing up new opportunities, prophesying new social formations, and bringing anxieties about formerly secluded (...) events and practices into a newly visible sphere? The Coming of Photography in India transcends traditional cultural and technological narratives in order to present a subtle and compelling account of the limits, possibilities, and consequences of photography. Examining technology in order to explain the dynamic incarnation of photographic practice as cure, poison, and prophecy, Christopher Pinney presents a bold account that will reward anyone with an interest in India, photography, or the history of the book. Accompanied by beautiful illustrations and a large number of previously unpublished images, this volume presents a sophisticated account of the “disturbance” that photography has brought to all of our lives. (shrink)

This article examines Alain Badiou’s and Slavoj Žižek’s advocacy for fidelity to revolutionary truths in light of complex system theory’s understanding of resiliency. It begins with a discussion of how Badiou and Žižek describe truth. Next, it looks at the features that make a complex system resilient. The article argues that if we understand neoliberalism as a resilient system, then the fidelity to revolutionary truths that Badiou and Žižek advocate is not enough, for it doesn’t realize how truths come from (...) the system as a whole. The article concludes by describing how this viewpoint alters discussions of political change. (shrink)

When the news of the invention of the daguerreotype left the halls of the French Academy of Sciences in 1839, it fell on the ears of an eager and receptive public, spellbound by the miracle of such an invention. The rapid popularization of the daguerreotype, and subsequently, of less time-consuming photographic processes, forced critics and artists alike to vehemently defend a definition of art that either categorically excluded the new medium or open-mindedly included it within the ranks of a modern (...) or industrialized art. If one maintained, as many did, that the nature and essence of art/literature can be clearly defined and that this definition must be grounded in tradition, coming to terms with what photography was and where it rightfully belonged required either a staunch reaffirmation of one's beliefs about aesthetics or a reassessment of those beliefs. In either case, photography functioned as a disruptive element that did not cause but contributed to an (already existing) artistic movement in which the integrity and solidity of aesthetic definitions and orthodoxies were being questioned and tested. In the minds of those apprehensive and suspicious of the new medium, industrialization, as well as political and social change, had already begun to sound the death knell for art as it had traditionally been conceived. If art/literature had become contaminated by industry, technological advancement and democratic principles, the conservative French nineteenth-century thinker saw it as his duty to save the former from certain destruction. “Saving” art/literature required a fundamental reinforcement of the belief in the closure and soundness of aesthetic definitions whose truth tradition had supposedly guaranteed. Uncovering the presuppositions behind aesthetic definitions that claim to speak in the name of tradition, self-evident truths, and even the nature of man is an endeavor worth pursuing because this manner of thinking leads to a kind of tyranny that has as its goal the suppression of questions, critical inquiry and thus, independent thinking. This study seeks to examine a small part of French aesthetic theory during a period in which change, instability and revolution became almost commonplace. The reactions of conservative artists and critics to post 1840s literary and artistic practices will be scrutinized in order to unveil the deep-seated fears and beliefs that found conservative backlashes to that which is referred to as “new” or “progressive.”. (shrink)

Used for everything from geographic evaluation to secret spy missions, aerial photography has a rich and storied history, ably recounted here in Photography and Flight. Aerial photography is marked by its dependency on technological developments in both photography and aerospace, and the authors chart the history of this photography as it tracked the evolution of these technologies. Beginning with early images taken from hot-air balloons, fixed platforms, and subsequent handheld camera technology, Denis Cosgrove and William Fox then explain how military (...) reconnaissance and governmental projects were instrumental in catalyzing these and other innovations in the field. They examine pivotal historical moments in which aerial photography began to establish itself as essential tool, such as in World War II military strategies, high-altitude photography taken from postwar rockets and aircraft, and the use of aerial photography during the cold war and the Cuban Missile Crisis. The book also explores the advancement of geographic scholarship through aerial photography, ranging from military excursions into Antarctica to the images of the curvature of the earth taken during the Apollo space missions. While digital technology and remote sensing have changed the landscape of photography, Photography and Flight argues that they have not diminished the significance of aerial photography in providing images of the earth. Rather, new technologies and resulting innovations such as Google Earth have enabled the mass democratization of access to such information. Photography and Flight ultimately reveals how the camera lens from far away continues to unearth telling details about the land and those who live upon it. (shrink)

Qui aurait pu croire, au début des années 1970, quand des milliers de prêtres décidaient de quitter l’Église, que Jean Cardonnel lui demeurerait fidèle? Le plus rebelle des dominicains de l’époque avait derrière lui un passé de provocateur et de protestataire (contre la condamnation des prêtres ouvriers, contre la torture en Algérie et la colonisation, puis à la pointe des mouvements des années 68...), il s’affirmait alors admirateur de la révolution culturelle chinoise, et n’avait pas l’intention de baisser la garde (...) face à la censure et aux tracasseries ecclésiales. Qui aurait pu parier qu’un quart de siècle plus tard, cet empêcheur de s’ennuyer en rond, qui disait avoir « épousé la Parole du tribun Jésus », ne s’en serait pas éloigné d’un pouce? (shrink)

Se trata de una reflexión realizada en 2006 que busca anticiparse a los efectos que tendría sobre Cuba el fallecimiento de Fidel Castro, hecho que ocurriría 10 años después. El trabajo aboga (por) y argumenta la necesidad de una dirección colectiva de la sociedad cubana que presuponga un importante componente educativo para activar más el pensamiento propositivo desde las bases sociales y también el perfeccionamiento estructural de la sociedad cubana que permita que aquellas propuestas realmente tomen el lugar que (...) por su valor merezcan en la toma de decisiones. (shrink)

The advent of cinema brought with it a different kind of image montage, to which Warburg’s iconological project was strangely oblivious. Are we meant to believe, then, that the cinema does not produce icons? Is iconology destined to be only a science of classical culture, or can it also evolve to integrate into its own study new forms of kinematic art? We would like to ask the question of organogenesis of iconology here, that is to say, the invention (...) of an iconological science for temporal objects by means of appropriate instruments for this new medium. The instrument is both conceived as a means of acting upon the real, and as a means of activating noetic capacities. The aim of our study will be to first outline the iconographic and iconological consequences stemming from animation and flux that have governed images since the birth of cinema, precipitating a crisis in classical iconology. Secondly, through the analysis of the noetic function of animated GIFs (Graphics Interchange Format) in digital streams, we will introduce the notion of ‘temporal gesture’ – as a tertiarized retentional technology, which can be reused for imagining an iconology of temporal suspension and insistence. This will be presented in the third part of this work to reflect on an iconological device for temporal objects by the grammatization and the engramming of ‘temporal gesture’, as an art of delay and repetition. This thinking will be based on the video artwork produced in collaboration with Gregory Dassié titled Iconologie pour objet temporel. (shrink)

The advent of cinema brought with it a different kind of image montage, to which Warburg’s iconological project was strangely oblivious. Are we meant to believe, then, that the cinema does not produce icons? Is iconology destined to be only a science of classical culture, or can it also evolve to integrate into its own study new forms of kinematic art? We would like to ask the question of organogenesis of iconology here, that is to say, the invention (...) of an iconological science for temporal objects by means of appropriate instruments for this new medium. The instrument is both conceived as a means of acting upon the real, and as a means of activating noetic capacities. The aim of our study will be to first outline the iconographic and iconological consequences stemming from animation and flux that have governed images since the birth of cinema, precipitating a crisis in classical iconology. Secondly, through the analysis of the noetic function of animated GIFs in digital streams, we will introduce the notion of ‘temporal gesture’ – as a tertiarized retentional technology, which can be reused for imagining an iconology of temporal suspension and insistence. This will be presented in the third part of this work to reflect on an iconological device for temporal objects by the grammatization and the engramming of ‘temporal gesture’, as an art of delay and repetition. This thinking will be based on the video artwork produced in collaboration with Gregory Dassié titled Iconologie pour objet temporel. (shrink)

In The Cruel Radiance, Susie Linfield challenges the idea that photographs of political violence exploit their subjects and pander to the voyeuristic tendencies of their viewers. Instead she argues passionately that looking at such images—and learning to see the people in them—is an ethically and politically necessary act that connects us to our modern history of violence and probes the human capacity for cruelty. Grappling with critics from Walter Benjamin and Bertolt Brecht to Susan Sontag and the postmoderns—and analyzing photographs (...) from such events as the Holocaust, China’s Cultural Revolution, and recent terrorist acts—Linfield explores the complex connection between photojournalism and the rise of human rights ideals. In the book’s concluding section, she examines the indispensable work of Robert Capa, James Nachtwey, and Gilles Peress and asks how photography should respond to the increasingly nihilistic trajectory of modern warfare. A bracing and unsettling book, The Cruel Radiance convincingly demonstrates that if we hope to alleviate political violence, we must first truly understand it—and to do that, we must begin to look. (shrink)

In National Camera, Roberto Tejada offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect--a place Tejada calls the shared image environment. The "problem" of photography in Mexico, Tejada shows, reveals cross-cultural episodes that are rife with contradictions, especially in the complex terms of cultural and sexual difference. Analyzing such topics as territory, sexuality, and (...) social and ethnic relations in image making, Tejada delves into the work of key figures including Manuel Alvarez Bravo, Edward Weston, Tina Modotti, Marius de Zayas, and Julien Levy, as well as the Agustín Víctor Casasola Archive, the Boystown photographs, and contemporary Mexican and Latina photo-based artists. From the Mexican Revolution of 1910-1920 to the U.S.-Mexico borderlands of today, Tejada traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production and, in doing so, defines both nations. (shrink)

Following the socialist revolution, a colossal shift in everyday realities began in the 1920s and '30s in the former Russian empire. Faced with the Siberian North, a vast territory considered culturally and technologically backward by the revolutionary government, the Soviets confidently undertook the project of reshaping the ordinary lives of the indigenous peoples in order to fold them into the Soviet state. In Agitating Images, Craig Campbell draws a rich and unsettling cultural portrait of the encounter between indigenous Siberians and (...) Russian communists and reveals how photographs from this period complicate our understanding of this history. Agitating Images provides a glimpse into the first moments of cultural engineering in remote areas of Soviet Siberia. The territories were perceived by outsiders to be on the margins of civilization, replete with shamanic rituals and inhabited by exiles, criminals, and "primitive" indigenous peoples. The Soviets hoped to permanently transform the mythologized landscape by establishing socialist utopian developments designed to incorporate minority cultures into the communist state. This book delves deep into photographic archives from these Soviet programs, but rather than using the photographs to complement an official history, Campbell presents them as anti-illustrations, or intrusions, that confound simple narratives of Soviet bureaucracy and power. Meant to agitate, these images offer critiques that cannot be explained in text alone and, in turn, put into question the nature of photographs as historical artifacts. An innovative approach to challenging historical interpretation, Agitating Images demonstrates how photographs go against accepted premises of Soviet Siberia. All photographs, Campbell argues, communicate in unique ways that present new and even contrary possibilities to the text they illustrate. Ultimately, Agitating Images dissects our very understanding of the production of historical knowledge. (shrink)

This paper confronts the interpretations of Eugène Atget’s photography given by Robert Desnos and Walter Benjamin. In the first part, it discusses Atget’s reception among the surrealists, particularly his relationship with Man Ray and the publication of some of his views from Paris in Littérature and La Révolution surréaliste. The second part is focused on the paragraphs that Benjamin has devoted to Atget in “Short history of photography” and "The work of art in the age of its technological reproductibility”. Finally, (...) it introduces, establishes and comments two texts by Desnos to highlight his idea of a history of photography, the place he attributes to Atget in it, and the presence of topical and figures of fundamental significance for Benjamin’s own perspective. (shrink)

A term with myriad associations, revolution is commonly understood in its intellectual, historical, and sociopolitical contexts. Until now, almost no attention has been paid to revolution and questions of geography. Geography and Revolution examines the ways that place and space matter in a variety of revolutionary situations. David N. Livingstone and Charles W. J. Withers assemble a set of essays that are themselves revolutionary in uncovering not only the geography of revolutions but the role of geography in revolutions. Here, scientific (...) revolutions—Copernican, Newtonian, and Darwinian—ordinarily thought of as placeless, are revealed to be rooted in specific sites and spaces. Technical revolutions—the advent of print, time-keeping, and photography—emerge as inventions that transformed the world's order without homogenizing it. Political revolutions—in France, England, Germany, and the United States—are notable for their debates on the nature of political institutions and national identity. Gathering insight from geographers, historians, and historians of science, Geography and Revolution is an invitation to take the where as seriously as the who and the when in examining the nature, shape, and location of revolutions. (shrink)