Does anybody know what love is? This question, the title of a love song by the Motown singer Irma Thomas, echoes through the series Black Mirror. This chapter seeks to answer this question by studying how love, as defined by both Thomas Aquinas and Irma Thomas, appears and disappears in the universe of the show. We learn that most people don't know that love is the total giving of the self to another. But if (...) they did know what love is, as a few characters in the show do, they'd be happier. (shrink)

This article investigates the role of shame in shaping the epistolary form and aesthetic structure of Alice Walker's The Color Purple. I argue that the epistolary framing presents a crisis in the development of Celie's shamed self‐consciousness. To explain the connection between shame and Celie's self‐consciousness, I build on Jean Paul Sartre's theory of existentialism and explore three phases of Celie's evolution as it is represented in three phrases that I identify as significant transitions in the text: “I am,” “But (...) I'm here,” and “It mine.” The first section examines how shame fractures Celie's self‐consciousness; the second focuses on how Celie positions and locates herself in the world; and the third explains how Celie mobilizes shame by connecting her self‐consciousness to a past that is shameful but also generative. I conclude by considering the novel's emergence in the Cosby/Reagan era in order to illuminate the mutual constitution of black familial pride and black racial shame. (shrink)

As we await the increasingly likely advent of genuinely intelligent artificial systems, a fair amount of consideration has been given to how we humans will interact with them. Less consideration has been given to how—indeed if—we humans will love them. What would human-AI romantic relationships look like? What do such relationships tell us about the nature of love? This chapter explores these questions via consideration of several works of science fiction, focusing especially on the Black Mirror (...) episode “Be Right Back” and the Spike Jonze's movie *Her*. As I suggest, there may well be cases where it is both possible and appropriate for a human to fall in love with a machine. (shrink)

Through staged photographs in which she herself is often the lead actor or through appropriation of historical photographs, contemporary African American artist Carrie Mae Weems deconstructs the shaming of the black female body in American visual culture and offers counter-hegemonic images of black female beauty. The mirror has been foundational in Western theories of subjectivity and discussions of beauty. In the artworks I analyze in this article, Weems tactically employs the mirror to engage the topos of (...) shame in order to reject it as a way of seeing the self and to offer a new way of lovingly seeing the self. I use the work of Kelly Oliver, Helen Block Lewis, and bell hooks to articulate the relationships among the mirror, shame, and black female subjectivity in Weems's work. Weems's subjects often reckon with what Oliver calls “social melancholy” as they experience shame while standing before the mirror. However, Weems also shows that by looking again—a critical strategy I explain using Oliver's model of “the loving eye”—her subjects can use the mirror as a corrective to the social shaming gaze and make it a stage for establishing black female subjectivity, a gaze of self-love, and beauty. (shrink)

Black Mirror is full of technologies that manipulate people's sensory perceptions. Philosophers of perception explain that our brains actively construct what we sense based on previous knowledge, expectations, and emotions, without us even being aware of this framing. Many Black Mirror episodes illustrate the mistakes that people can make when they misunderstand this framing process. Some episodes suggest that highly effective virtual reality technology could foil the strategies that Descartes recommended for distinguishing hallucinations and dreams from (...) reality. Yet other episodes warn how powerful institutions can punitively wield the power of control over perception. Yet in rare optimistic moments, Black Mirror demonstrates the value of relying on the help of other people to hold firm to deeper truths in the face of forces that would manipulate us. [Or, a slightly longer version with key episode titles: Black Mirror is full of technologies that manipulate people's sensory perceptions. Philosophers of perception explain that our brains actively construct what we sense based on previous knowledge, expectations, and emotions, without us even being aware of this framing. Video playback of perceptions, as in Arkangel, illustrate the mistakes that people can make when they misunderstand this framing process. Playtest and Bandersnatch suggest that highly effective virtual reality technology could foil the strategies that Descartes recommended for distinguishing hallucinations and dreams from reality. In the hands of government, law enforcement, and the military, the total control of perception can be wielded as tool for punishment, as in Men Against Fire and White Bear. But in more optimistic moments, such as at the conclusions of Nosedive and San Junipero, Black Mirror demonstrates the value of relying on the help of other people to hold firm to deeper truths in the face of forces that would manipulate us.]. (shrink)

This essay examines how Black Mirror presents mortality as a moral dilemma, asking if we should use technology to rewrite the rules of existence. Through the exploration of philosophical perspectives from Martin Heidegger, Albert Camus, Jacques Derrida, and Sigmund Freud, the essay illustrates the choices Black Mirror presents regarding how we should deal with the death of others and the death of ourselves, as well as the meaning of death and whether we should defer it or (...) embrace it. (shrink)

Can the characters in Black Mirror survive the loss of their bodies? This chapter considers what happens to characters like Greta in White Christmas, Clayton in Black Museum, and Yorkie in San Junipero when artificial models are made of their minds. One possibility is that the original characters persist in cookie form, without their bodies, but retaining the essence of who they originally were. Another possibility is that cookies cannot replicate a person's essence: instead, each time a (...) cookie is created, a new, entirely distinct person comes into being. This chapter explores these and other possibilities, all having to do with personal identity, or the persistence of persons through time. (shrink)

An internationally funded project uses a computer system to bring dead philosophers of technology back to life (a more advanced technology from Be Right Back). The purpose of the project is to get the thinkers to interact and come up with solutions for our currently troubling relationship with technology. The participants in the conversation have been programmed to accurately represent a relevant thinker. The programming consisted of uploading the complete works of the thinker and they have viewed all episodes of (...) Black Mirror. (shrink)

Conscious technology features in many Black Mirror episodes. For example, there are the cookies in White Christmas, the people uploaded into the San Junipero simulation, Robert Daly's digital copies of his coworkers in USS Callister, and the copy of Clayton Leigh that is exhibited in Black Museum. But would such pieces of technology really be conscious? Would they, for example, feel pain? And how could we tell? Is uploading or replicating someone's consciousness even possible? This chapter explores (...) these questions and discusses the ethical issues that are raised by consciousness technology. (shrink)

RESUMO A série Black Mirror, transmitida entre 2011 e 2023 pela Netflix, tornou-se um fenômeno de mídia e seus episódios mostraram formas de interação homem-máquina (terminologia também referida como humano-computador). O nome da série se refere ao fato de que, quando uma tela é desligada, ela se torna um espelho negro que reflete a imagem do usuário. Este artigo1 tem como objetivo analisar os efeitos da interação homem-máquina nas organizações produtivas apresentadas em Black Mirror. Esta pesquisa (...) utilizou a análise do discurso, principalmente a partir das contribuições de Mikhail Bakhtin. O método consistiu em três etapas que contaram com a colaboração de estudantes de graduação e pós-graduação em Engenharia de Produção, integrando ensino e pesquisa e desenvolvendo o senso crítico dos pesquisadores-iniciantes. Os resultados indicam que, nas organizações apresentadas na série Black Mirror, há uma transição do conceito de fatores humanos para fatores ciborgues, bem como o uso da interação homem-máquina para promover o controle social. (shrink)

Black feminisms offer lenses through which Black women can resist and re-exist under new emancipatory conditions. Part of that work is uncovering roots and routes through which Black women's lives can come to the fore as articulated centers. Such a mandate, I argue, must center love. This article's work, therefore, is to articulate the function of love, as an ethic and a discourse of love as a dialectic space, in the creation of emancipatory spaces (...) for Black women. In particular, this article aims to articulate how a love ethic, as a princple, can be used to support a citational politics for Black women toward a Black feminist reclamatory past, liberatory present, and emancipated future. (shrink)

This essay seeks to show the divergence of real and virtual communication codes by means of analyzing Charlie Brooker’s dystopian series Black Mirror, in respect of the influence of new communication technologies and gadgets in the form of bodily extensions. It draws on both recent sociopolitical phenomena and sociological findings to undermine why and how the speculative fiction of Black Mirror displays the characters’ engagement in their environs as inherently obscene, and at same time mirrors the (...) recent developments that are looming ahead in the future which makes the series prophetical rather than merely dystopian in its outlook. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sacrificial Ram and the Swan QueenMimetic Theory Fades to BlackBrian Collins (bio)“We speak of a ‘black’ mirror. But where it mirrors, it darkens, of course, but it doesn’t look black, and that which is seen in it does not appear ‘dirty’ but ‘deep.’”—Ludwig Wittgenstein, Remarks on ColorThis paper explores the ways in which male and female bodies become the sites of mimetic desire and ritual (...) violence in Darren Aronofsky’s two companion films The Wrestler (109 min, Wild Bunch, 2008, DVD) and Black Swan (108 min, Fox Searchlight, 2010, DVD). Both films (which were originally intended to be one film, explaining their thematic consistency)1 share three elements. First, both explore cultural forms, wrestling and dance, respectively, that punish the body of the performer in a spectacular way. Second, both films end with the ritualistic dying (if not the death) of the main character. Third, in both films, this dying is accompanied by a kind of transformation that can only be called “becoming-animal.”2 Though this last point is much easier to demonstrate [End Page 207] in the case of Black Swan, I will argue that this is also true for The Wrestler. In interpreting these films, I will rely mainly on René Girard’s ideas about mimetic desire and the surrogate victim mechanism, supplemented by Slavoj Žižek’s notion of symbolic death. Symbolic death or “second death” is Žižek’s Hegelian appropriation of the psychoanalytic death drive. The death drive holds a special place for Girard, since he considers Freud’s formulation of the death drive his admission that the Oedipal complex cannot explain the compulsion to repetition, an admission for which he credits Freud’s honesty. In this paper, I demonstrate that pseudo-masochism, Girard’s alternate theory of repetition, and the Žižekian second death are both present in Black Swan and The Wrestler, and that each film plays on the animal/human distinction and ritual transformations of the body to explore these themes.Part One: The Sacrificial Ram“The function of the wrestler is not to win: it is to go exactly through the motions which are expected of him.”—Roland Barthes, “The World of Wrestling,” MythologiesThe Pseudo-Masochistic Body I: Becoming-RamWilliam Golding’s novel Pincher Martin: The Two Deaths of Christopher Martin (London: Faber and Faber Limited, 1956) follows a bitter, selfish, and intransigent sailor who finds himself clinging to a rock in the middle of the ocean, the sole survivor of a shipwreck, only to slowly learn that he is not a survivor at all, but is rather trapped like a character from The Twilight Zone in the utter loneliness of the timeless time between his titular “two deaths.” The first death comes when Martin goes down with his ship and the second comes when he is annihilated (possibly; the ending is ambiguous) by the “black lightning,” which Terry Eagleton identifies in his analysis of the book as “the fire of God’s ruthless love, which burns up those who cannot bear it.” Martin’s misotheism is his last defense against the terrifying power of love, and he continues to defy God as the black lightning engulfs him.3 Why the two deaths? Martin is unable to die properly the first time, Eagleton argues, “because he is incapable of love. Only the good are capable of dying. Martin cannot yield himself up to death because he has never been able to yield himself up to others in life.”4 [End Page 208]Randy “The Ram” Robinson, born Robin Ramzinski, (Mickey Rourke), the protagonist of The Wrestler, is, like Pincher Martin, between two deaths, isolated from the rest of humanity because of his inability to connect with others. But while Pincher Martin is defiant and bound for a self-created Hell because of his deliberate rejection of love, Ram is a much more sympathetic character—though no less doomed—because he tries but fails time after time to accept the love of those who could save him. Pincher Martin’s self-created internal obstacle is his hatred of God, externalized through his encounter with the black lightning. But in Ram’s case... (shrink)

The dystopian tale has a special place in our shared cultural heritage. -/- Many of us will have a favourite, or perhaps several. I myself adored the 1984 and The Handmaid’s Tale books as a youngster; moved on to JG Ballard then discovered Philip K. Dick thanks to Minority Report; and in recent years was floored by Black Mirror episodes and videogames such as The Last of Us. -/- The thrill can be explained by one question: ‘What if (...) this horror was actually happening?’ -/- “People say Black Mirror and The Handmaid’s Tale are conspiracies, science fiction – but as a philosopher, I can see a lot of the elements in these films and books that are actually happening now,” Marie Oldfield, AI ethics consultant to the UK government and other organisations, tells BusinessCloud. (shrink)

The Black Mirror episode “Arkangel” tells a disturbing story of over-parenting driven by technology. The single mother Marie’s adoption of the Arkangel system has invited overwhelmingly negative moral evaluation from philosophers. But what accounts for the moral failure of a loving and concerned parent? Is it all about her flawed character, or are there situational factors at work? In the article, I first foreground the slipperiness of technology implicated in Albert Borgmann’s notion of the “device paradigm” and Hans (...) Jonas’s analysis of modern technology. Then I analyze the character of the Arkangel system in the light of the two philosophers’ works and show how the technology turns Marie into a failing parent. In the end, I offer tentative answers to the two questions; the answers shall also shed light on the problem of under-parenting driven by digital technology. (shrink)

Modern cognitive and experimental science is increasingly working to explore the meaning and importance of forgetting. Forgetting is one of the most important mental functions on an individual level, but also on a social and national level, since it enables healing, purifies the mind of difficult memories, prevents obsession with problems, and eliminates the possibility of psychosomatic illnesses. The famous British TV series Black Mirror, which has become a symbol of the challenges that modern and futuristic technology brings (...) to man, deals with the problems that arise due to the obsession of the gadget culture with abolishing forgetting through technological enhancement. Several episodes are based on gadgets that expand the potential of memory and make it constantly available to other subjects, in the way that data from a person’s entire history become available. In a dialogue with Brooker’s ideas, the author re–examines the problems spawned by this future society without forgetting, and searches for possible solutions. Moderna kognitivna i eksperimentalna znanost sve više se bavi istraživanjem značenja i važnosti zaboravljanja. Zaboravljanje je jedna od najvažnijih mentalnih funkcija na individualnoj, ali i na društvenoj i nacionalnoj razini, budući da omogućuje iscjeljivanje uma i brisanje neugodnih sjećanja, sprječava opsesivno razmišljanje o problemima i otklanja mogućnost pojave psihosomatskih bolesti. Poznata britanska serija Crno zrcalo, koja je postala simbol za izazove koje moderna i futuristička tehnologija donosi čovjeku, bavi se problemima koji nastaju zbog opsjednutosti kulture gadgeta da se tehnološkim napretkom potpuno onemogući zaboravljanje. Nekoliko epizoda serije temelji se na gadgetima koji proširuju potencijal ljudskog pamćenja te ga čine dostupnim drugima, a time podatci o čitavoj nečijoj prošlosti postaju dostupni. Razmišljajući o Brookerovim idejama, autor razmatra probleme koje bi iznjedrilo takvo buduće društvo lišeno zaborava i traži moguća rješenja. (shrink)

Black Mirror is a cultural phenomenon. It is a creative and sometimes shocking examination of modern society and the improbable consequences of technological progress. The episodes - typically set in an alternative present, or the near future - usually have a dark and satirical twist that provokes intense question both of the self and society at large. These kind of philosophical provocations are at the very heart of the show. Philosophical reflections on Black Mirror draws upon (...) thinkers such as Friedrich Nietzsche, Pierre Hadot and Michel Foucault to uncover how Black Mirror acts as 'philosophical television' questioning human morality and humanity's vulnerability when faced with the inexorable advance of technology. (shrink)

Reflections on mimesis have tended to be restricted to aesthetic fictions in the past century; yet the proliferation of new digital technologies in the present century is currently generating virtual simulations that increasingly blur the line between aesthetic representations and embodied realities. Building on a recent mimetic turn, or re-turn of mimesis in critical theory, this paper focuses on the British science fiction television series, Black Mirror to reflect critically on the hypermimetic impact of new digital technologies on (...) the formation and transformation of subjectivity. (shrink)

In this beautifully written, personal meditation on life and living, Raymond Tallis reflects on the fundamental fact of existence: that it is finite. Inspired by E. M. Forster’s thought that “Death destroys a man but the idea of it saves him,” Tallis invites readers to look back upon their lives from a unique standpoint: one’s own future corpse. From this perspective, he shows, the world now vacated can be seen most clearly in all its richness and complexity. Tallis blends lyrical (...) reflection, humor, and the occasional philosophical argument as he explores his own postmortem recollections. He considers the biological processes and the senses that opened up his late world and the million-nooked space in which he passed his life. His inert, dispossessed body highlights his ceaseless activity in life, the mind-boggling inventory of his possessions, and the togetherness and apartness that characterized his relationships in the material and social worlds. Tallis also touches on the idea of a posthumous life in the memories of those who outlive him. Readers who accompany Tallis as he considers his life through death will appreciate with new intensity the precariousness and preciousness of life, for here he succeeds in his endeavor to make “the shining hour” shine more brightly. (shrink)

A Russian in Paris -- Russian contexts -- Madmen -- The possessed -- Godmen -- The Hegel lectures -- The last revolution -- Time no more -- The book of the dead -- The later writings -- Nobodies -- Roads or ruins? -- Why finality? -- The grand inquisitor.

In Reading ‘Black Mirror’: Insights into Technology and the Post-Media Condition, German A. Duarte and Justin Michael Battin offer a new collection of essays that provides different frameworks for understanding, contextualising and appraising the influential science fiction TV anthology series, Black Mirror. While finding that the volume does not always fully cohere and often requires prior familiarity with twentieth-century French and German philosophy, there are a number of essays that are worth ample attention, writes Beba Cibralic.

In Spike Jonze’s Her (2013), we watch the film’s protagonist, Theodore, as he struggles with the end of his marriage and a growing attachment to his artificially intelligent operating system, Samantha. While the film remains unique in its ability to cinematically portray the Lacanian contention that “there is no sexual relationship,” this article explores how our digital non-relationships can be re-approached through the medium of comedy. Specifically, when looked at through a comic lens, notable scenes from Her are examined for (...) the potential they provide in affording a self-decentrement which allows us to traverse the fantasies that structure our non-relations. (shrink)

According to the 2020 docudrama, The Social Dilemma, our very addiction to “social media” has, today, become encapsulated in the tensions between its facilitation as a mode of interpersonal communication and as an insidious conduit for machine learning, surveillance capitalism and manipulation. Amidst a variety of interviewees – many of whom are former employees of social media companies – the documentary finishes on a unanimous conclusion: something must change. By using the docudrama as a pertinent example of our “social media (...) malaise,” and while remaining aware of the problems and unethical practices encompassing international digital/social media companies, this paper will argue that we continually refrain from the very question(ing) that would call these companies to account: what does the algorithm desire? In approaching this question, this article will draw from Lacan’s ‘hysterical’ position in accordance with Robert Pfaller’s notion of interpassivity. Together, these concepts will be used to provide a psychoanalytic account of how our subjectivization in social media renders an unconscious endorsement that both frames our awareness of the dilemmas encompassing social media, while also positing an inherent limitation that may offer a possible path out of its impeding affects. This subjective ambivalence – delegated yet reluctantly disavowed – offers an opportunity to realign discussions on the lost object of desire (objet a) and its reproduction in social media algorithms. In so doing, the case will be made that an account of interpassivity can help lay bare the hysterical significance underscoring our digital subjectivization. (shrink)

In a mixed-methods study of the barriers and facilitators to homeownership for African American women with physical disabilities, self-concept emerged among the primary themes. This article discusses how participants in the study perceived themselves and negotiated how they were perceived by others as multiply marginalized women. Using what I call a feminist intersectional disability framework, I suggest that participants’ relationships to care strongly contributed to their self-concept. The “Strong Black Woman” trope and associated expectations had cultural and material relevance (...) for how they interpreted themselves and were interpreted by others as receivers, managers, and providers of care. The material reality of owning or not owning a home did not reveal significant differences in the self-concepts of homeowners versus nonhomeowners. Rather, it was through conversations about homeownership that this data around self-concept in relationship to care was revealed. (shrink)

Ubuntu is a Bantu term meaning humanity. It is also a philosophical and ethical system of thought, from which definitions of humanness, togetherness, and social politics of difference arise. Devi Dee Mucina is a Black Indigenous Ubuntu man. In Ubuntu Relational Love, he uses Ubuntu oratures as tools to address the impacts of Euro-colonialism while regenerating relational Ubuntu governance structures. Called "millet granaries" to reflect the nourishing and sustaining nature of Indigenous knowledges, and written as letters addressed to (...) his mother, father, and children, Mucina's oratures take up questions of geopolitics, social justice, and resistance. Working through personal and historical legacies of dispossession and oppression, he challenges the fragmentation of Indigenous families and cultures and decolonizes impositions of white supremacy and masculinity. Drawing on anti-racist, African feminist, and Ubuntu theories and critically influenced by Indigenous masculinities scholarship in Canada, Ubuntu Relational Love is a powerful and engaging book. (shrink)

Despite the implied critical stance of dystopian narratives, there is a strand of beautiful, aesthetically pleasant dystopias—inherently ambivalent texts that are—both fascinating and horrifying. Drawing from examples in literature and television, this article argues that “beautified dystopias” generate a surplus of aesthetic enjoyment, harboring a mystifying potential in tension with the critical-satirical potential of dystopias. In a rereading of Yevgeny Zamyatin's We, this article first examine how D-503's aestheticizing voice—although undeniably constructed for a satirical effect—fosters a degree of fascination toward (...) the dystopian world in excess of Zamyatin's intentions. Second, taking Black Mirror's “Fifteen Million Merits” as an example of contemporary televisual dystopias, this article argues that the supposedly ironic construction of beautified cinematic mise-en-scènes deepens and complicates the underlying ambivalence of “beautified dystopias.” The author's assumption is that this is not an exceptional case, but rather an integral part of the current dystopian structure of feeling. (shrink)

Anthropomorphic language is constantly deployed in discussions of technology more generally and very specifically in discussions of artificial intelligence. Such language can obscure both what the technology actually does and what the challenges are to using it. Facial Recognition and autonomous vehicles both rely on a form of computer vision—not the same but related forms. This article seeks to deconstruct what is going on in these two technologies to give readers an ability to think critically about them as these are (...) technologies that will have broad social impacts and which are potentially dangerous to health and well-being. They will involve exercise of power by inscrutable algorithmic authority and it is important to think more deeply about them so that we can build a world we want to live in. (shrink)

The minister's task in Johannine perspective is neither to entice people into accepting the gospel nor to consummate God's new creation; the ministerial vocation is to point to Christ and to the God of limitless love who sent his Son to save this world.

With the publication of Martin Heidegger’s Black Notebooks, it has become impossible to avoid Heidegger’s anti-Semitism. There has been the expected controversy with Heideggerians on the defensive and the philosopher’s detractors condemning his work outright. But there has been little serious exploration of the matter aside from several recent works. This article builds on this literature on Heidegger’s anti-Semitism and concludes that an anti-Semitic narrative lies at the heart of Heidegger’s history of the oblivion of Being as nihilism. Moreover, (...) Heidegger adopts the narrative framework set up by Friedrich Nietzsche in On the Genealogy of Morality. In the end, we assert that Heidegger advocates a kind of war against Judaism that seeks to eradicate the Jewish influence in the western tradition. Heidegger’s ‘metaphysical’ anti-Semitism aims to overcome the nihilism of the ‘Jewish Christian’ revenge [Rache] against death, a nihilism that has evolved into the technological effort to make everything secure. (shrink)

A decolonial practice and understanding of education (whether theological or otherwise) requires engaging, subverting, deposing and reimagining a whole ecology of imaginaries, practices, structures, institutionalities, traditions, power asymmetries etc.: a task that is far beyond the capacities of any individual, community or even generation. Cognisant of this reality, the article foregrounds the question of pedagogy in theological education (but only as an integral part of the colonial/decolonial ecology of education) and argues that in so far as our pedagogies in theological (...) education treat students primarily as ‘thinking creatures’, we are engaging in a dis-membering pedagogy that reproduces the coloniality of being. I identify a Cartesian anthropology (‘ego cogito sum’) – engendering a host of dualisms giving artificial supremacy to certain dimensions of reality over others – as a key animating source of dis-membering pedagogies. Drawing on the ‘pedagogical excess’ (i.e. underexplored pedagogical themes) in the theological anthropology of Simon Maimela in conversation with pedagogical visions that cohere and extend his anthropological commitments, I argue that a re-membering pedagogy is, at minimum: a pedagogy of performative action, embodiment and (community based) liminality. I argue throughout the article that in the work of re-sourcing our animating anthropologies and re-imagining our pedagogies, we are engaged in the healing work of re-membering that which coloniality has torn apart: theory and practice, mind and body, the individual and relationality, the student and the teacher, the theological school and society. Contribution: This article outlines my attempts to theoretically and theologically ground (and extend) my espoused pedagogical commitments forged at the intersection of my community work and teaching as a theological educator in an undergraduate BTh programme. This article invites other theological educators to become conscious of the theological anthropology that their espoused pedagogical commitments assume and reflect on the pedagogical commitments that their theological anthropology entails, especially as it relates to the ongoing calls for the Africanisation/decolonisation of theological education in South Africa. (shrink)

Why is it that we watch _Mad Men_ and think it represents a period? Flashes of patterned wallpaper, whiskey neat, babies born that are never mentioned, contact lining for kitchen drawers, Ayn Rand, polaroids, skinny ties, Hilton hotels, Walter Cronkite, and a time when Don Draper can ask ‘What do women want?’ and dry old Roger Sterling can reply ‘Who Cares?’ This essay explores the embrace of period detail in _Mad Men_ finding it to be both loving and fetishistic, and (...) belonging, like all period film, to the politics of the present. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Irreplaceable Cannot Be ReplacedEllen HarveyThe Irreplaceable Cannot Be Replaced, Ellen Harvey, 2008. Photographs: Jan Baracz.People in New Orleans were invited to submit images or descriptions of irreplaceable places, people, or things lost to Hurricane Katrina. Eleven submissions were chosen at random and the artist painted 16” x 20” oil paintings based on those submissions. All thirty texts that were submitted were framed and exhibited along with the paintings (...) at the Contemporary Arts Center/New Orleans as part of the exhibition Something from Nothing, curated by Dan Cameron. Texts without a painting were accompanied by a framed black panel. At the end of the exhibition, all of the paintings and the framed texts were given away to the participants.Ellen Harvey was born in the United Kingdom and lives and works in Brooklyn, NY. She has exhibited extensively in the US and internationally and was most recently included in the 2008 Whitney Biennial. Recent solo exhibitions include Private Collections at Locks Gallery, Philadelphia, The Museum of Failure at Luxe Gallery, New York, Beautiful/Ugly at Magnus Müller in Berlin, Bad Mirror at Galerie Gebruder Lehmann in Dresden, Mirror at the Pennsylvania Academy, and A Whitney for the Whitney at Philip Morris at the Whitney Museum at Altria. She took part in the Whitney Independent Study Program and the PS1 Studio Program. Recent awards include a Pennies from Heaven Grant, a Philadelphia Exhibitions Initiative Grant, a Rema Hort Mann Foundation Grant, a Palm Beach County Cultural Council Grant, and a New York Foundation for the Arts Fellowship. She has completed projects for both the New York and Chicago Transit Authorities, most recently including a mosaic for the new Metro-North Yankee Stadium Station. The New York Beautification Project was published by Gregory Miller in 2005, and Ellen Harvey: Mirror was published by the Pennsylvania Academy in 2006. Click for larger view View full resolutionI am 87 years old living in a trailer on our property in New Orleans.We had 5 ft of water, which remained in the house 6 weeks creating mold to the ceiling.We lost everything. When I read Chris Rose’s column (he’s my favorite columnist in the whole world) it brought to mind my mother’s two dining room chairs that had been around as long as I can remember. I had them restored in about 1976 by Senior Citizens in classes of the “Peoples Program” sponsored by the nuns on Mirabean Ave. The wood was polished and varnished with a light brown stain and the seats were re-caned. I was born in 1920 so the chairs could be 75 years old. Anyway I can imagine you will have many interesting subjects to choose from but I’m submitting mine hoping I’ll be one of the very fortunate ones selected.I am terrible at drawing but will give you as complete a description as I can.I loved those chairs and enjoyed them for extra seating on holidays and at parties and they were conversation pieces.Alice Delaney[End Page 2] Click for larger view View full resolutionThere are so many “washed away” treasures, that the memorialization of even just one will be everlastingly meaningful to the community.I am submitting photographs of porcelain dolls, which I had crafted prior to the disaster. The dolls shown were created from commercial molds and were ready to go to a “new home.” Needless to say these dolls were submerged under water for at least two weeks. I call them my “children of the flood” but have not had the courage to disassemble them. I was able to rescue some doll parts and am in the process of cleaning, sorting and sanitizing them for future assembly.If I am ever able to get back to my very rewarding hobby, which was helpful in supplementing my retirement income, I will have to replace my electronic kiln and most of my doll making supplies. Many of the molds that were destroyed are no longer available. However, I will keep the memories dear, I have been fortunate enough to replace my sewing machines and some of the fabric used for clothing and doll... (shrink)

This article explores how the TV series Black Mirror is evidence that entertaining TV series can provide us with highly elaborated critical thinking about crime and punishment. Based on the premise that society owns social imaginaries to guide our individual orientation, we explore the connection between screen technologies and our criminal imaginaries in this TV series. The article relates the aims of punishment according to criminal theory – prevention, retribution and rehabilitation – with two images that appear in (...) episode 2.2 ‘White Bear’: the monster and its lynching. (shrink)

The Danish author Søren Aabye Kierkegaard (1813-1855) is one the best-known theologians in the intellectual history of modernity since the nineteenth century. His influence is comprehensive: it is to be detected, amongst others, in theological, philosophical, literary, psychological and aesthetic discourses across the globe in many contexts. As such this publication will provide welcome input in further reflection on Kierkegaard's role in the interpretation of Scripture in modernity. Huls's book is a refreshing addition to Kierkegaardian studies, which will pave the (...) way for further research on one of the great thinkers of our time. It is also a useful contribution to the debate in contemporary hermeneutics about the legacy of the Enlightenment and the nature of biblical interpretation as a hermeneutical enterprise. Scripture aims to bring us back to our being-seen-in-God. By being alone with it, we realize that in it we are looking in the mirror of Him who loves us from our origin. In reading Scripture, we can, consequently, not be allowed to flee in all sorts of human fabrications about Scripture, as if only the knowledge of theologians could expose the true meaning of Scripture. Every person, whether well-schooled or not, whether he has much or little knowledge, knows Scripture, because before all else Scripture lives in us. Scripture merely reminds us of the Word that is spoken in us immediately and that constitutes our subjectivity. As long as the Word has not truly made us fall silent and we ourselves still think we have a say, the Word does not yet have us in its grasp. Only when we truly fall silent, in the realization that our human logic shrinks into insignificance compared to the wisdom of Him who loves us from our origin, can this Word become directive in our existence. Because there is truly only one eternal object of wonder -- that is God -- and only one possible hindrance to wonder -- and that is a person when he himself wants to be something. (shrink)

The last 5 years have seen a series of remarkable achievements in deep-neural-network-based artificial intelligence research, and some modellers have argued that their performance compares favourably to human cognition. Critics, however, have argued that processing in deep neural networks is unlike human cognition for four reasons: they are (i) data-hungry, (ii) brittle, and (iii) inscrutable black boxes that merely (iv) reward-hack rather than learn real solutions to problems. This article rebuts these criticisms by exposing comparative bias within them, in (...) the process extracting some more general lessons that may also be useful for future debates. (shrink)

This paper provides a novel response to Vlastos’s challenge that Platonic erōs in the Symposium, since it is for the form of beauty rather than any particular person, is impersonal and egotistical. Vlastos, in addition to generations of his readers and critics, badly misunderstands Diotima’s reproductive theory of love. In particular, it has been widely overlooked or diminished that the ideal erotic relationship set out in the ladder of love mirrors the reproductive labor of ancient Greek mothers and (...) caregivers. The lover of the highest mysteries undertakes the psychic equivalent of motherly care to rear virtuous ideas in the next generation. Thus, properly understanding Diotima’s gendered vision of psychic reproduction reveals that Platonic love is anything but impersonal and egotistical. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Proof and Persuasion in Black Athena:: The Case of K. O. MüllerJosine H. BlokNon tali auxilio.Virgil, Aeneid II, 521When in 1824 the German classical scholar Karl Otfried Müller (1797–1840) set down to write a review of Champollion’s first Letter to M. Dacier (1822), he was profoundly interested. 1 For several years he had been working on Egypt, and as he told his parents in 1820, “I have come (...) to love Egyptian antiquity so much, that, if I were not constricted by the schedule of my classes, I would have set myself to the decipherment of the hieroglyphs, which I would not deem impossible by the clues I have found.” 2 During the same years (1820–25) that he wrote his early books on ancient Greece, he [End Page 705] reviewed sixteen studies on Egypt alone. 3 In his review of the Letter, then, he wanted to draw “the attention of [the] readers to this, certainly not unfounded, discovery,” 4 though he feared the author was inclined to jump to conclusions. But in August 1824 he reviewed Champollion’s more complete publication of his findings of the same year and, recalling his previous anxiety, commented:Now, however, the reading of the present work has totally convinced me, that the usage of hieroglyphs to indicate sounds is as ancient as this writing system itself. [... This discovery should also mean that...] the history of Egyptian religion and state will be reconstructed and expanded. 5From that moment he sided unequivocally with Champollion, politely but clearly reminding German colleagues who still stumbled on with decipherments of their own, that this would not do. 6With these facts in mind, Martin Bernal’s rendering in his Black Athena, volume I, is bound to surprise: “[U]nlike Humboldt, Niebuhr and Bunsen [Müller] disregarded the sensational scholarly developments between 1815 and 1830. There is no indication that he paid any attention to Champollion’s decipherment” (316). The contradiction between Bernal’s statements and the sources on Müller’s life and work turns out not to be an incidental error but part of a larger pattern. To understand this pattern and its objectives, let me first summarize Bernal’s argument and my own.In his challenging book Bernal argues that the ancient Greek world was founded on the colonization of Greece by Phoenicians and Egyptians in the second millennium bc. 7 The material which is to prove his thesis is offered in volume II, though volume I includes a summary. In this first volume Bernal observes that from late antiquity until the eighteenth century, awareness of the Afroasiatic roots of ancient civilization had been retained as the heritage of ancient Greece itself. Hence Bernal labels this perception underlying Western classical scholarship of the early modern period the “Ancient Model.” By or soon after the 1820s, however, it was replaced by the “Aryan Model,” which took Greek civilization to be partly autochthonous and partly [End Page 706] shaped by invasions coming from the North. To reveal that the fall of the Ancient Model was not the result of internal developments in classical scholarship but of externalist influences, notably the belief in progress, the defense of Christianity, Romanticism, and most importantly racism, is the core theme of volume I. Bernal sustains his argument by contending that historical source criticism was not really or entirely an internal development but created to serve the external ends, and by presenting Müller as the embodiment of Romanticist racism, who was responsible for overthrowing the Ancient Model and inaugurating its Aryan successor. Hence, by thus designating Müller as the axis around which the overall turn of classical scholarship revolved, he wants to prove that the fall of the Ancient Model was unjustified in terms of scholarship but only occurred due to dishonorable ideologies.Through a limited number of representative issues I want to argue that Bernal’s rendering of Müller and the context of his work is untenable in the light of the source material and that Bernal’s explanation of the fall of the Ancient Model is untenable as well. My aim is not just to clear Müller’s name... (shrink)

Contrasting institutionalism and sexual liberation is the essence of Black Mirror episode, Striking Vipers, which challenges the socially constructed boundaries imposed on sexual experiences in its consideration of how two conflicting lifestyles, traditional commitment and sexual openness, can cohabitate together. Through use of virtual eroticism, the episode takes the privileged standing of heteronormative monogamy and exposes its inadequacy as an institution without concluding that it must be jettisoned entirely. By contrasting real‐world intimacy with virtuality, it considers the meaningfulness (...) of sexual fantasies, thereby questioning the very definition of true intimacy. Striking Vipers ultimately explores the possibility that what is real may not always be what is most meaningful. Physical relationships can be just as artificial as fantasy, and imagination can be just as meaningful as reality. It concludes with the suggestion that neither heteronormative monogamy nor virtual escapism are fully satisfying. Instead, both romantic expressions may provide the necessary balance between monotonous devotion and unrestrained sexuality. (shrink)

Of all humanities disciplines, none is more resistant to the program of positive psychology or more hostile to the prevailing discourse of human flourishing than literary studies. The approach taken in this volume of essays is neither to gloss over that antagonism nor to launch a series of blasts against positive psychology and the happiness industry. Rather, the essays are attempts to reflect on how the kinds of literary research the contributors themselves are doing, the kinds of work to which (...) they are personally committed, might become part of an interdisciplinary conversation about human flourishing. The authors' specific fields of work are wide ranging, covering literary aesthetics, book history, digital humanities, and reader reception, as well as the important "inter-disciplines" of gender and sexuality studies, disability studies, and black studies-fields in which issues of stigma and exclusion are paramount, and which have critiqued the discourse of human flourishing for its failure to grapple with structural inequality and human difference. Taken together, the essays contribute more points of ambiguity and hesitation to the study of human flourishing than decisive advancements. Literary scholars are drawn more readily to the problematic than to the decidable. But by dwelling on the trouble spots in a field of inquiry still largely confined to the sciences, this volume provides the groundwork for new and more productive forms of interdisciplinary collaboration and exchange. (shrink)

This book offers original readings of classic and contemporary black texts, highlighting the pain of racism and love-based strategies of antiracist resistance. Kathy Glass gives sustained attention to the impact of racist affect on the black body and how black women writers deploy emotional states to move readers to progressive political action.

In _Black Sun_, Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, as well as psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression's dark heart. In her discussion she analyzes Holbein's controversial 1522 painting (...) "The Body of the Dead Christ in the Tomb," and has revealing comments on the works of Marguerite Duras, Dostoyevsky and Nerval. _Black Sun_ takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated. (shrink)