An elegant introduction to Bataille's major concepts and concerns, "Bataille: A Critical Reader" underlines the powerful impact his work has had, in different ...

Many philosophers have argued against Singer’s claim that all animals are equal. However, none of these responses have demonstrated an appreciation of the complexity of his position. The result is that all of these responses focus on one of his arguments in a way that falls victim to another. This paper is a critical examination of a possible response to the full complexity of Singer’s position that derives from the work of Carl Cohen, Kathleen Wilkes, and F. Ramsey. On this (...) response, a being’s moral status depends not on the capacities and abilities she does in fact have, but instead on the capacities and abilities normal for the members of her species. However, this response is ultimately unacceptable, for it depends on a faulty conception of loss and misfortune and its underlying moral principle is irrational at best and morally objectionable at worst. The failure of even this response to Singer gives us good reason to conclude with Singer that all animals are equal. (shrink)

This article interrogates postmodern and Levinasian conceptions of ethics with recourse to Quentin Tarantino's Reservoir Dogs and certain psychoanalytical concepts formulated in Jacques Lacan's Ethics of Psychoanalysis. Since Levinas, ethical thinking has, in some quarters, moved away from conventional questions about moral agency, rights and social justice, on to a concern towards the ultimate unknowability of `the other'. Ethics depends, for Levinas, on an unpredictable, accidental encounter with something Other, that, in its singularity, demands a response; it is precisely the (...) contingency of the encounter that constitutes the ethical difference from the realm of morality and law. Tarantino's movie narratives are also structured around accidents, disclosing the pain and jouissance of accidental expenditures that lie at the heart of any relation to the Other. In the midst of trauma, the Thing emerges, around which goods and signification circulate, that both delimits the identification of the Good and marks a space beyond moral law that becomes the site of radical ethical questioning. (shrink)

This is a major collection of essays examining the legacy of Friedrich Kittler in the turn towards Media Philosophy.

The form of Western mainstream film is the crux of its ideological efficiency: by using established formal techniques, films ensure audiences un- derstand that aesthetic decisions support and clarify the narrative to ensure maximum spectatorial satisfaction. However, some films exploit their formal aesthetics in order to prevent clarification, thwarting satisfaction in favour of viewing practices that can be considered perverse in that they withhold, suspend or obstruct immediate pleasure. Contemporary Western filmmaking in the mid-1990s witnessed the emergence of a distinct (...) group of filmmakers and films that, in the popular discourse of cinematic criticism, were together coded as “difficult” or “perverse.” These films were, as a result of the characteristics we identify below, situated obliquely in relation to the larger economic and artistic struc- tures of a commercially oriented “mainstream” cinema. Included in this new form of cinematic production were films from directors such as Tim Burton: Edward Scissorhands ; David Cronenberg: eXistenZ ; David Fincher: Se7en ; Peter Greenaway: The Baby of Maçon ; David Lynch: Lost Highway ; Quentin Tarantino: Pulp Fiction and Lars von Trier: Breaking the Waves . Whilst Western cinema as a whole has a long history of exploring “difficult” or “perverse” material within the overt or covert content of narrative, plot and story, such films demonstrate a particular relationship between the content being explored and the specific formal characteristics utilised in the delivery of that content. Thus where previous examples would utilise standardised formal techniques as a way of both delivering and containing the difficult or objectionable material, the films instead offer instances where the material of the narrative content seems to bleed backwards, affecting the form and rendering the very materiality of the film itself suspect and problematic. (shrink)

This article takes its point of departure from late Lacan's meditations on the incompatibility of psychoanalysis with Japanese culture due to its non-European linguistic basis. The article argues that this emphasis on language narrowly conceived fails to keep pace with the interconnected, multi-media, all-encompassing nature of the unconscious today. Illustrating this point, the article focuses on the figure of the hikikomori: middle-class Japanese youths who have withdrawn from all conventional social contact to indulge exclusively computer-based interactions. Thanks to the overlap (...) with the related figure of the ‘Bedroom DJ’, the analysis then moves on to the ambient music of Richard D. James, aka Aphex Twin. It argues for the validity of the concept of an ‘audio unconscious’ distinct from Lacan's unconscious ‘structured like a language’. The final part of the article, however, examines one of James's music videos and discerns in it modes of jouissance that psychoanalysis can still describe. (shrink)

The article analyzes the rise of civil society organizations and litigation related to environmental pollution and HIV/AIDS in China. China’s state has responded to pressure from civil society with regulations to limit civil society organizations’ contentiousness and ties to international groups, restricted access to the courts, and creation of GONGOs to vie with grassroots organizations over leadership of civil society. Against liberal theories of civil society, the author argues for a Gramscian model of civil society in which the state takes (...) an active role in constructing its hegemony in civil society. (shrink)

This chapter looks at the function of phobia in the work of Gilles Deleuze. It looks particularly at how Deleuze’s concepts of the ‘line of flight’ and ‘becoming’ find definition in a creative rethinking of Lacan’s understanding of phobia, transforming his own symptoms into a sinthome that links a fear of milk to the figure of the schizophrenic thereby offering a ‘nonsensical’ yet effective way of understanding the dynamic genesis and development of his philosophy, particularly the logic of sense.

This chapter looks at the function of phobia in the work of Gilles Deleuze. It looks particularly at how Deleuze’s concepts of the ‘line of flight’ and ‘becoming’ find definition in a creative rethinking of Lacan’s understanding of phobia, transforming his own symptoms into a sinthome that links a fear of milk to the figure of the schizophrenic thereby offering a ‘nonsensical’ yet effective way of understanding the dynamic genesis and development of his philosophy, particularly the logic of sense.

. Hypervalue. Cultural Values: Vol. 1, No. 2, pp. 133-138.

ABSTRACTThis essay introduces the notion of a literary clinical practice for which it remains essential to continue to consider those texts that open up a place for a readership, or audience, or even a civilization to consider the endlessly generative failure of its literature to write mental health. Concerned with mental illness that is an effect of language on the subject, the body, and of the enigma of the truth as cause, psychoanalysis is the crucial interlocutor for any literary clinical (...) concern with the maladies of literature and society. In order to re-assess the utility of Shakespeare’s Hamlet to contemporary problems such as depression – perhaps the dominant symptom of our time – this essay attempts a reconsideration of Jacques Lacan’s famous seminar on Hamlet from the perspective of the contemporary clinic of the Lacanian orientation in psychoanalysis led by Jacques-Alain Miller. (shrink)

Commenting on the role of psychoanalysis at the time of the posthuman, Véronique Voruz notes dryly that “posthumanismposthumanism is a discourse that brings people together in a conversation where nobody knows what the other is saying, but everyone believes they understand each other to a sufficient degree for a conversation to take place”. “Posthumanismposthumanism” is both symptom and signifiersignifier and thus organizes a social bondsocial bond, at least between academics where the jouissancejouissance or pleasure of discourse compensates for the lacklack (...) of meaning. This is both fortunate and ironic because one of the features of posthumanismposthumanism is precisely the decline and even absence of traditional forms of social bondsocial bond, that is to say those organized by signifiers. In this era of planetary-scale technology, the social bondsocial bond is pre-eminently mediated by objects organized in informationinformation networks. The posthuman “internet of things” provides the paradigm of communicationcommunication in which everything is “chipped” and rendered equivalent: humans, animalsanimal and machines. All are objects that relay readable datadata leaving open the question of whether there is another face to these objects that is unreadable, and whose register therefore in psychoanalytic terms would not be meaning but jouissancejouissance. (shrink)

Most philosophy professors want to help their students improve their writing, but determining a good way to do so is not easy. Requiring students to write rough drafts is a good start, but the extra work these require can overload already busy professors. In this article I describe and defend the use of peer-review assignments as a way of improving undergraduate writing. The largest benefit of such assignments is that they allow the students to take a more objective view of (...) their own writing. I also provide sample questionsto use in such assignments. (shrink)

This essay reads Deleuze and Guattari's Anti‐Oedipus, somewhat perversely, as a radical Lacanian means of conceptualizing hypermodern capitalism. If, as Deleuze and Guattari argue, it is psychoanalysis that rediscovers and retraces the death instinct in classical, nineteenth‐century capitalism, Deleuze and Guattari's schizoanalysis better exemplifies the ways in which the deterritorializing flows of twenty‐frrst‐century global capitalism have overcoded and overwritten that classical, nineteenth‐century order of things. Taking Bret Easton Ellis's novel, American Psycho as its symptomatic text, this essay discusses the implications, (...) raised hysterically in the novel, of an unrestricted economy in which the ‘subject’ is no longer held in place by a governing (master or paternal) signifier in relation to a traditional symbolic order. The essay shows how Lacan's notion of ‘the Other’ has been reconfigured, in relation to consumer capitalism, such that it takes the form of a purely machinic imperative that turns the subject into an economically dividuated producing/product. The subject has become a little machine hooked up to the big machine that maintains it in debt in a continual process of consumption‐production of commodities, brands and identities. (shrink)