In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Neo-Baroque Aesthetics and Contemporary EntertainmentTheodore GracykNeo-Baroque Aesthetics and Contemporary Entertainment, by Angela Ndalianis. Cambridge, MA, and London: MIT Press, 2004, 323 pp., $34.95 cloth.Like the cliché about not judging a book by its cover, the prominence of the term "aesthetics" in a book's title is no indication of what one will find inside. Has the term become so elastic that it will now cover everything cultural? Or is (...) it the case, as in Angela Ndalianis's discussions of theme park rides and computer games, that the term applies to anything that has a parallel in earlier practices covered by this rubric? Ndalianis may be stretching it too far, for the book in question emphasizes parallels with baroque practices that predate Alexander Baumgarten's 1735 proposal to use "aesthetics" as the name of an emerging discipline concerned [End Page 115] with perception. We are alternately informed that the book explores the poetics, semiotics, and the "logic of contemporary media." But because Ndalianis holds that recent visual media involve a "specific system of perception" that arises from a "radical cultural transformation" (22-23), the term "aesthetics" may be as good as any other in conveying her purposes. For she is not concerned with artistic style—presumably the province of art historians. She is theorizing broadly about visual media by examining an assortment of media strategies found in the two eras and aims to identify their common "morphology" (19). Her sources are Fredric Jameson, Walter Benjamin, and Gilles Deleuze rather than, say, Kendall Walton, Noël Carroll, or Gregory Currie.Ndalianis's main idea is that there is a strong but not exact parallel between our own times and the visual forms favored in the seventeenth century. (For Ndalianis, the baroque period stretches from 1492 to the 1680s.) The two epochs involve similar cultural sensibilities and artistic practices, so if we understand baroque art and visual media, we will better understand what is going on in contemporary media. In short, the framing assumption is Shelley's dictum that art is the expression of the spirit of its time. More specifically, the design of modern entertainment media is argued to be very similar to a wide range of baroque entertainment and representational practice. But the similarity is not due to either awareness or imitation of baroque style. Each "logically emerged as a result of systemic and cultural transformations" peculiar to its own time (17). The similar "logic" of each period is thus seen as evidence that there are parallels in the "general tendencies" and consequent "dominant cultural sensibilities" of the two periods (17-21). Because hindsight is more reliable than precognition, a backward glance at the baroque may help us to better grasp our own historical and cultural context.Having outlined these proposals in a lengthy introduction, Ndalianis offers five chapters, each devoted to a specific parallel. All five chapters share a similar strategy. A different aspect of neo-baroque communication is highlighted, and one type of baroque art or entertainment is compared and contrasted with its neo-baroque counterpart, with at least one neo-baroque example explored in considerable detail.The introduction focuses on Jurassic Park (both the film and the theme park ride). Chapter 1 focuses on neo-baroque "narrative strategies," as first Don Quixote and its sequel and then the palace at Versailles are compared to the various Alien films and comic books. The main focus is "serial" art as an outgrowth of capitalism, generating "an aesthetics of repetition" enriched by its "rampant self-reflexivity" (69). Chapter 2 shifts to the baroque love of labyrinthine structure, with its "enforced circuitousness, planned chaos, choice among paths, intricacy, complexity, and an invitation to the audience to engage reflexively" in exploring the labyrinth (84). Ndalianis's baroque case is Pietro de Cortona's elaborate painted ceiling for the Palazzo Barberini in Rome. The neo-baroque counterpart is the Doom video game and its sequel, Doom II. Inexplicably, for a book with numerous illustrations, there are no visuals to display Doom for those unfamiliar with such games. Chapter 3 examines baroque cartography as a background for discussing geographic discovery and colonization, leading to the neo-baroque... (shrink)

This volume presents fourteen essays by leading figures in the fields of ancient philosophy and contemporary metaphysics, discussing Aristotle's theory of the unity and identity of substances, a topic that remains at the center of metaphysical enquiry. The contributors examine the nature of essences, how they differ from other components of substance, and how they are related to these other components. The central questions discussed are: What does Aristotle mean by "potentiality" and "actuality?" How do these concepts explicate matter and (...) form, and how are they related to the actuality of a substance? What is the role of actuality in accounting for the unity and identity of substance? These questions are crucial to an understanding of the unity of composite substances and their identity over time. The aim of the volume is both exegetical and philosophical: to give answers to central problems in Aristotle's metaphysics, and also to stimulate further investigation of the problems defined and the controversies embodied. (shrink)

La question de la légitimation de la philosophie est l'un des fils conducteurs de l'idéalisme allemand. Dans la première génération des successeurs de Kant en effet, certains ont pour ambition explicite de reprendre ses résultats, mais d'une manière suffisamment justifiée pour répondre aux objections sceptiques. D'autres, en revanche, décident de s'installer dans le renoncement à la fondation systématique, accusant la raison discursive d'être incapable de saisir la vie et la liberté. Quels sont, chez les auteurs de l'idéalisme allemand, les arguments (...) qui plaident en faveur d'un fondement du discours philosophique? Un tel principe est-il théorique ou pratique, inaugural ou terminal, intuitif ou discursif, tel qu'il adopte la forme d'une proposition singulière ou tel qu'il se confond avec le tout du discours? En somme, l'enjeu est d'examiner, sous un point de vue nouveau, le thème de la raison dans l'idéalisme allemand. La question est ici abordée dans une perspective historique autant que systématique. La variété et la richesse des études témoignent de la vitalité des recherches actuelles sur l'idéalisme allemand. (shrink)

Rationale: Deep brain stimulation (DBS) of the hippocampus is proposed for enhancement of memory impaired by injury or disease. Many pre-clinical DBS paradigms can be addressed in epilepsy patients undergoing intracranial monitoring for seizure localization, since they already have electrodes implanted in brain areas of interest. Even though epilepsy is usually not a memory disorder targeted by DBS, the studies can nevertheless model other memory-impacting disorders, such as Traumatic Brain Injury (TBI). Methods: Human patients undergoing Phase II invasive monitoring for (...) intractable epilepsy were implanted with depth electrodes capable of recording neurophysiological signals. Subjects performed a delayed-match-to-sample (DMS) memory task while hippocampal ensembles from CA1 and CA3 cell layers were recorded to estimate a multi-input, multi-output (MIMO) model of CA3-to-CA1 neural encoding and a memory decoding model (MDM) to decode memory information from CA3 and CA1 neuronal signals. After model estimation, subjects again performed the DMS task while either MIMO-based or MDM-based patterned stimulation was delivered to CA1 electrode sites during the encoding phase of the DMS trials. Each subject was sorted (post hoc) by prior experience of repeated and/or mild-to-moderate brain injury (RMBI), TBI, or no history (control) and scored for percentage successful delayed recognition (DR) recall on stimulated vs. non-stimulated DMS trials. The subject’s medical history was unknown to the experimenters until after individual subject memory retention results were scored. Results: When examined compared to control subjects, both TBI and RMBI subjects showed increased memory retention in response to both MIMO and MDM-based hippocampal stimulation. Furthermore, effects of stimulation were also greater in subjects who were evaluated as having pre-existing mild-to-moderate memory impairment. Conclusion: These results show that hippocampal stimulation for memory facilitation was more beneficial for subjects who had previously suffered a brain injury (other than epilepsy), compared to control (epilepsy) subjects who had not suffered a brain injury. This study demonstrates that the epilepsy/intracranial recording model can be extended to test the ability of DBS to restore memory function in subjects who previously suffered a brain injury other than epilepsy, and support further investigation into the beneficial effect of DBS in TBI patients. (shrink)

“Opt-out” organ procurement policies based on presumed consent are typically advertised as being superior to “opt-in” policies based on explicit consent at securing organs for transplantation. However, Michael Gill has argued that presumed consent policies are also better than opt-in policies at respecting patient autonomy. According to Gill’s Fewer Mistakes Argument, we ought to implement the procurement policy that results in the fewest frustrated wishes regarding organ donation. Given that the majority of Americans wish to donate their organs, (...) it is plausible that a presumed consent policy would result in fewer frustrated wishes compared to the current opt-in policy. It follows that we ought to implement a policy of presumed consent. In this paper, I first consider and find wanting an objection to the Fewer Mistakes Argument developed recently by Douglas MacKay. I also consider an objection put forth by James Taylor but argue that there is a methodological reason to prefer my own argument to Taylor’s. Finally, I argue for two theses: first, that Gill’s major argument in favor of the crucial premise of the Fewer Mistakes Argument is flawed, and second, that the major premise of the Fewer Mistakes Argument is false. (shrink)

Cet article propose une analyse du livre sur Beethoven auquel, sans avoir eu le temps de l’achever, Adorno a travaillé durant plus de 30 ans. Longtemps attendue, la traduction française permet aujourd’hui de prendre pleinement la mesure de l’importance de ce volume, tour à tour atelier ou chambre d’écho de l’œuvre entière d’Adorno. Ligne de force de l’ouvrage, le rapprochement entre Beethoven et Hegel porte ainsi l’enjeu d’un rapport entre l’identité et la différence tel que l’altérité ne se laisse pas (...) absorber dans l’économie de la pensée spéculative. À cet égard, on a d’abord été attentif au fait que, pour Adorno, c’est dans la mesure même où la forme beethovénienne vise la constitution d’une « totalité intensive », qu’elle conduit à mettre au jour – au sein de l’apparence esthétique et par elle – le caractère arbitraire d’un tel primat accordé au tout. Si telle est la « teneur de vérité » de cette musique, on peut alors considérer que le « style tardif » de Beethoven (motif présent du premier au dernier des textes qu’Adorno a consacrés au compositeur) en constitue le plein déploiement, en tant que critique, immanente au matériau musical, de l’illusion du réconcilié. S’il est connu que, notamment, les derniers quatuors ou les dernières sonates sont exemplaires d’un tel geste, on a voulu montrer que celui-ci se trouvait à la fois dédoublé et altéré dans la composition de la Missa solemnis, qu’Adorno dit ne pas parvenir à comprendre. On soutient alors l’hypothèse suivante : exprimant de façon éminente une intempestivité qui traverse l’ensemble de l’œuvre beethovénienne, cette tension entre deux formes de distanciation, ou d’« estrangement » (Verfremdung), cristallise du même coup les exigences théoriques fondamentales de cette réforme de la dialectique qu’Adorno appelle dialectique négative et, indissociablement, celles de la conception d’une temporalité historique non linéaire et non téléologique. (shrink)

_Laruelle_ is one of the first books in English to undertake in an extended critical survey of the work of the idiosyncratic French thinker François Laruelle, the promulgator of non-standard philosophy. Laruelle, who was born in 1937, has recently gained widespread recognition, and Alexander R. Galloway suggests that readers may benefit from colliding Laruelle’s concept of the One with its binary counterpart, the Zero, to explore more fully the relationship between philosophy and the digital. In _Laruelle_, Galloway argues that (...) the digital is a philosophical concept and not simply a technical one, employing a detailed analysis of Laruelle to build this case while referencing other thinkers in the French and Continental traditions, including Alain Badiou, Gilles Deleuze, Martin Heidegger, and Immanuel Kant. In order to explain clearly Laruelle’s concepts such as the philosophical decision and the principle of sufficient philosophy, Galloway lays a broad foundation with his discussions of “the One” as it has developed in continental philosophy, the standard model of philosophy, and how philosophers view “the digital.” Digital machines dominate today’s world, while so-called digital thinking—that is, binary thinking such as presence and absence or self and world—is often synonymous with what it means to think at all. In examining Laruelle and digitality together, Galloway shows how Laruelle remains a profoundly non-digital thinker—perhaps the only non-digital thinker today—and engages in an extensive discussion on the interconnections between media, philosophy, and technology. (shrink)

I am grateful to the editors of the Canadian Journal of Philosophy for inviting me to write a comment on Kathleen Gill’s ‘On the Metaphysical Distinction Between Processes and Events’. I readily concede that she is right in the central criticism she makes of my 1978 paper: that a properly metaphysical or ontological distinction between processes and events, if it is to be made at all, cannot be sustained on the basis of the informal linguistic criteria I offered in (...) ‘Events, Processes, and States.’ My main concern in that paper was to show that discussions of the Kenny-Vendler typology of activities, performances, and states had focused too narrowly on verb types, on adverbial phrases, on the domain of human action, and on English-language intuitions. Mine was one of several voices urging in the late 1970s that issues of tense logic and of the logic of verb types had to be placed in the broader context of verb aspect — a salient and pervasive structure in natural languages generally, and one that had been studied by philologists and linguists since the nineteenth century. Captivated, as I and others had become at the time, by evidence that the distinction between count nouns and mass nouns appears to be mirrored in verb predications, I went on to make some rather venturesome ‘ontological’ claims. It is satisfying, of course, that Gill accepts not only that there is ‘substantial evidence in favor of recognizing a grammatical distinction between the language of processes and [the language of] events’ but also that ‘similarities with count and mass expressions will allow us to apply techniques for han dling nominal expressions to verbal expressions’. It is more than satisfying that the phenomenon of verb aspect is now noticed and investigated by philosophers as well as by linguists. (shrink)

Damn Great Empires! offers a new perspective on the works of William James by placing his encounter with American imperialism at the center of his philosophical vision. This book reconstructs James's overlooked political thought by treating his anti-imperialist Nachlass -- his speeches, essays, notes, and correspondence on the United States' annexation of the Philippines -- as the key to unlocking the political significance of his celebrated writings on psychology, religion, and philosophy. It shows how James located a craving for authority (...) at the heart of empire as a way of life, a craving he diagnosed and unsettled through his insistence on a modern world without ultimate foundations. Livingston explores the persistence of political questions in James's major works, from his writings on the self in The Principles of Psychology to the method of Pragmatism, the study of faith and conversion in The Varieties of Religious Experience, and the metaphysical inquiries in A Pluralistic Universe. Against the conventional view of James as a thinker who remained silent on questions of politics, this book places him in dialogue with a transatlantic critique of modernity, as well as with champions and critics of American imperialism, from Theodore Roosevelt to W. E. B. Du Bois, in order to excavate James's anarchistic political vision. Bringing the history of political thought into conversation with contemporary debates in political theory, Damn Great Empires! offers a fresh and original reexamination of the political consequences of pragmatism as a public philosophy. (shrink)

The following article was researched and written during the period of a summer grant from Northern Illinois University and a fall grant from Alexander von Humboldt-Stiftung, both of which are gratefully acknowledged here. I also wish to express my appreciation to the students of Northwestern University who provided this issue for me.

This article examines the critique of deliberative democracy leveled by William Connolly. Drawing on both recent findings in cognitive science as well on Gilles Deleuze's cosmological pluralism, Connolly argues that deliberative democracy, and the contemporary left more generally, is guilty of intellectualism for overlooking the embodied, visceral register of political judgment. Going back to Deleuze and Guattari's A Thousand Plateaus, this article reconstructs the working assumptions of Connolly's critique and argues that it unwittingly leads to an indefensible embrace of manipulation. (...) Against his micropolitics of visceral manipulation, I propose an alternative route for realizing Connolly's politics of agonistic negotiation in the form of a critical theory of the public sphere. (shrink)

Why does Aristotle not use the copulative wording for categorical propositions, but instead the clumsier terminological formulations (e. g. the B belongs to every A) in his syllogistic? The proposed explanations by Alexander, Lukasiewicz and Patzig: Aristotle wants to make clear the difference between subject and predicate, seems to be insufficient. In quantified categorical propositions, this difference is always sufficiently clear by the use of the pronouns going with the subject expressions. Aristotle opts for the terminological wording because in (...) premiss pairs of figures two and three he can thus suppress the middle term in one of the premisses and connect the major and minor term, using connecting particles. This renders the syllogisms more transparent. Had he used the copulative wording instead, he would have run into difficulties, in particular with o-propositions among the premisses (i. e. in Baroco and Bocardo) because in these cases the pronoun expressing the quantification would have to go with the subject term, the negation with the predicate. (shrink)

Journal in the Night by THEODOR HAECKER Translated from the German by Alexander Dm PANTHEON BOOKS Printed in Great Britain for Pantheon Books Inc., 333 Sixth ...

This article reconstructs a pragmatist conception of political conviction from the works of William James. Pragmatism is often criticized for failing to account for the force of moral convictions to motivate risky and confrontational political action. This article argues that such criticisms presume a conception of conviction as an experience of moral command that pragmatism rejects. In its place, pragmatism portrays the experience of conviction as acting on faith. Drawing on Gilles Deleuze’s notion of the stutter, I argue that this (...) experience of faith is neither a deliberative justification nor a form of decisionism but rather a style of moral deliberation that is experimental, social and affective. I consider the sole piece of political oratory in James’ corpus, his 1897 oration to Robert Gould Shaw and the Massachusetts 54th Regiment, as a significant example of stuttering conviction. James’ oration seeks to demonstrate the ways that convictions can take hold of actors without relying on deep philosophical foundations or justifications. Although James places his argument squarely within the context of the politics of race, he himself does not attend to the ways his celebration of Shaw obscures the moral experiences of the African–American soldiers of the 54th. In response to this blindness, the final section considers whether or not the martyrdom of John Brown provides a more appropriate conception of conviction than James’ Shaw. (shrink)

This article reconstructs a pragmatist conception of political conviction from the works of William James. Pragmatism is often criticized for failing to account for the force of moral convictions to motivate risky and confrontational political action. This article argues that such criticisms presume a conception of conviction as an experience of moral command that pragmatism rejects. In its place, pragmatism portrays the experience of conviction as acting on faith. Drawing on Gilles Deleuze’s notion of the stutter, I argue that this (...) experience of faith is neither a deliberative justification nor a form of decisionism but rather a style of moral deliberation that is experimental, social and affective. I consider the sole piece of political oratory in James’ corpus, his 1897 oration to Robert Gould Shaw and the Massachusetts 54th Regiment, as a significant example of stuttering conviction. James’ oration seeks to demonstrate the ways that convictions can take hold of actors without relying on deep philosophical foundations or justifications. Although James places his argument squarely within the context of the politics of race, he himself does not attend to the ways his celebration of Shaw obscures the moral experiences of the African–American soldiers of the 54th. In response to this blindness, the final section considers whether or not the martyrdom of John Brown provides a more appropriate conception of conviction than James’ Shaw. (shrink)

In theMetaphysics, Aristotle pointed out that some activities are engaged in for their own sake, while others are directed at some end. The test for distinguishing between them is to ask, ‘At any time during a period in which someone is Xing, is it also true that they have Xed?’ If both are true, the activity is being done for its own sake. If not, it is being done for the sake of some end other than itself. For example, if (...) I am thinking, it is true that I have thought. But if I’m making a blouse, it is not true that I have made a blouse, at least not this particular blouse. That’s not true until I have completed the project.There have been a number of attempts to deepen our understanding of this distinction. Anthony Kenny devoted a chapter of Action, Emotion, and Will to this issue, exploring the effect tense has on implication relations, and using that as a basis for dividing verbs of action into state-verbs, activity-verbs and performance-verbs. In more recent years the trend has been to generalize these categories so as to include occurrences other than actions, i.e., occurrences which do not involve intentions. While interest in this area tends to focus primarily on linguistic issues, such as the categorization of verbs, or on the logical analysis of sentences, there has been some interest in related metaphysical issues. In 1978 Alexander Mourelatos published ‘Events, Processes, and States,’ a paper which has turned out to be quite influential, in which he proposes an ontological trichotomy of occurrences. In his view, processes and events form distinct categories within the general category of occurrences. In this paper I will examine the reasoning underlying Mourelatos’s claim, arguing that the differences between processes and events cannot provide the basis for an ontological subcategorization of occurrences. (shrink)

Walter Benjamin's influence on Theodor Adorno centers on the former's early philosophy of language, which drew on manifold sources, including importantly the theological writings of Johann Georg Hamann. Adorno adapts this “expressivist” philosophy of language as part of a critique of Hegel's dialectic that forms the basis for Adorno's understanding of epistemology and social criticism. The result of this tempered influence is that Benjamin's and Adorno's projects share a great deal of common ground and vocabulary, but diverge in fundamental ways. (...) These tensions come to the fore in Adorno's 1930s criticisms of Benjamin's unfinished Arcades Project. Of particular import are their respective understandings of Benjamin's notion of a constellation. For Adorno the constellation is a response to the dialectical tension in the relation between subject and object, while for Benjamin it transcends that relation. (shrink)

Intellectual property law operates with the ontological assumption that immaterial goods such as works, inventions, and designs exist, and that these abstract types can be owned like a piece of land. Alexander Peukert provides a comprehensive critique of this paradigm, showing that the abstract IP object is a speech-based construct, which first crystalised in the eighteenth century. He highlights the theoretical flaws of metaphysical object ontology and introduces John Searle's social ontology as a more plausible approach to the subject (...) matter of IP. On this basis, he proposes an IP theory under which IP rights provide their holders with an exclusive privilege to use reproducible 'Master Artefacts.' Such a legal-realist IP theory, Peukert argues, is both descriptively and prescriptively superior to the prevailing paradigm of the abstract IP object. This work was originally published in German and was translated by Gill Mertens. (shrink)

No início deste ano, contemporânea a uma edição comemorativa dos quarenta anos deexistência do lnstitutus-Rainnmdus-Lullus em Freiburg i. Br., um tanto atrasada, mas nem por isso menos importante, apareceu a tradução alemã do Liber de gentili et tribus sapientibus,. Duas circunstâncias tornaram importante o aparecimento deste livro para todos os que se interessam por Ramon Llull e pela cultura catalã. Em primeiro lugar, por ser esta não somente a primeira edição completa desta obra em alemão, que substitui a edição selecionada, (...) muito fragmentária, de Xosé e Elisabeth Scheible1 mas, ao mesmo tempo, por ser a primeira tradução completa em língua alemã desta obra.2 Além disso, o fato de este livro aparecer numa tão conhecida editora como a de Philipp Reklam indica que o Buch vom Heiden und den drei Weisen será, pelo menos nos próximos anos, a obra de Llull pela qual os leitores alemães terão o primeiro contato com o fascinante pensamento do maiorquino. Esta obra, que representa uma importante contribuição para o discurso inter-religioso na Idade Média, presta-se verdadeiramente como introdução ao pensamento do Doctor muminatus e apresenta as características essenciais da análise combinatória de sua Ars, de forma altamente explícita e igualmente estética e literária. Constituem seu guia e base narrativa os diálogos de três sábios, representando as três grandes religiões, enquanto caminham por uma selva até a descoberta dum locua amoenus, magistralmente descrito, em meio do qual encontram cinco grandes árvores, em cujas folhas se acham gravadas as combinações binárias dos princípios básicos Julianos. Aqui os três sábios, e com eles o leitor, são conduzidos pela dama Inteligência, e com ajuda das árvores, na funcionalidade da análise combinatória Juliana, antes de exporem racionalmente aos desconfiados pagãos a confortadora verdade salvífica da respectiva fé de cada um. Com isso o tradutor e editor Theodor Pindl, que já se distinguiu com diversos trabalhos, especialmente sobre o Breviculum, satisfaz na sua versão, com poucas exceções,3 as qualidades tanto filosóficas como literárias da obra e produz um texto bastante legível. No entretanto, nao baseou sua tradução na edição crítica do texto catalão feita por Antoni Bonner,4 publicada em 1993 na série Nova edició de les obres de Ramon Llull, mas recorreu à edição latina de 1721, de Ivo Salzinger, reeditada em 1965. O que é de se admirar, pois a edição feita em Mainz por Ivo Sa!zinger, como é sabido, sofreu numerosas modificações no que diz respeito à ordem das frases e à escolha das palavras feitas pelo editor. (shrink)

When we compare the genealogical strategies of the Ptolemies, Seleukids, and Hasmoneans, those of the Ptolemies and the Hasmoneans display striking parallels, while the Seleukids followed a different policy. This article explores one facet of the parallels, the combined use of funerary monuments, festivals, and narratives to create prestigious dynastic ancestors. We commence with Alexander the Great and Nectanebo II, the last native king to rule before the Persian conquest of Egypt, who became putative ancestors of the Ptolemies by (...) way of Alexander’s Sema in Alexandria, the Ptolemaic ruler cult, and four texts—the Demotic Chronicle, Nectanebo’s Dream and its “sequel”, and the Alexander Romance. The comparison between the Ptolemies and the Hasmoneans focuses on Alexander’s Sema and the Hasmonean funerary monument erected by Simon in Modi’in. Alongside their physical similarities, we show how the Modi’in monument was instrumental in turning the Hasmonean John Hyrkanos into the heir of all the tomb dwellers, particularly Judas Maccabee. (shrink)

In this essay I examine the criminal defense file. I argue that being a largely neglected “object” of the legal field, upon a close examination, the file discloses its intriguing materiality as what is predicated on the structure of the fold that allows for the objective, virtual, and narrative spheres to overlap in a specific act-object, which, with Gilles Deleuze, I call objectile. A subsequent phenomenological analysis of the legal file as objectile shows how its constitutive features help the attorney (...) shape ordinary matters into plentiful matters, turning the file into a locally designed sign system. Once exposed, this system reveals its relations to the legal system at large, with individual activities, institutional practices, and legal procedures all being a part of a complex manifold that is law. (shrink)

A special issue of_ New German Critique_ The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, received as much scholarly attention as they deserve. Contributors to this issue seek to provide insight into some of the key themes raised in these works, including the sociology of musical genre, the historical transformation of music from the "heroic" or high-bourgeois era to late (...) modernity, the meaning of both performance and listening in the era of mass communication, and the specific challenges or deformations of the radio on musical form, a theme that implicates many of the digital practices of our own age. There is much left to discover in these new publications, and they pose again, with renewed vigor, the question of Adorno’s _Aktualität_—his polyvalent, untranslatable term for, among other things, the intellectual relationship between the present and the past. Contributors Daniel K. L. Chua, Lydia Goehr, Peter E. Gordon, Martin Jay, Brian Kane, Max Paddison, Alexander Rehding, Fred Rush, Martin Scherzinger. (shrink)

This chapter interrogates the figure “without soil” in relation to pivotal concerns in Theodor W. Adorno's thought. Freedom, the element of philosophy, proves itself as much in the conscious dismissal as in the rescuing return. The return is not that of something repressed, a claim suppressed by another claim, by the blank refusal to have anything to do with something. The fact that Adorno's thinking draws on dialectical motifs means that the conscious dismissal turns against what exists, against what is (...) merely natural, isolated, abstract in life; the life of the spirit that has freed itself from abstraction no longer sets itself in opposition to death. It no longer takes control of death as negativity and, for that very reason, no longer succumbs to it. If one wanted to revert to Kantian terminology, one could say that philosophy is concerned with neither inclination nor respect, but with favor. (shrink)

RESUMEN: El propósito del presente escrito es preguntarnos por el campo complejo que se abre en la confluencia de las trayectorias de Alexander Kluge y Theodor W. Adorno. Desarrollaremos, en primer lugar, algunos hitos históricos que permitan situarnos en el contexto de ese acercamiento. Luego, tomando como punto de partida el problema clave de la referencialidad de la imagen que, tanto para Kluge como para Adorno es central en las reflexiones sobre una estética propia del cine, abordaremos cuatro temas (...) que consideramos nos permiten repensar las relaciones de los dos teóricos: palabra e imagen, la idea de montaje, imagen y experiencia subjetiva y la cuestión de la recepción. ABSTRACT: The aim of this paper is to explore the complex convergence between the trajectories of Alexander Kluge and Theodor W. Adorno. In the first place, we develop some historical milestones that allow us to describe the context of this closeness. Then, taking as a starting point the key problem of the image referential -which for Kluge and Adorno is the main concern in the reflections on a particular aesthetics of film-, we will address four issues that let us rethink the relationship of the two of them: the idea of ​​montage, narrative and image, subjective experience and the matter of reception. (shrink)