In the last years, a series of automated self-representational social media sites have emerged that shed light on the information ethics associated with participation in Web 2.0. Sites like Zoominfo.com, Pipl.com, 123People.com and Yasni.com not only continually mine and aggregate personal information and biographic data from the web and beyond to automatically represent the lives of people, but they also engage algorithmic networking logics to represent connections between them; capturing not only who people are, but whom they are connected to. (...) Indeed, these processes of 'auto-biography' are 'secret' ones that for the most part escape the user's attention. This article explores how these sites of auto-biography reveal the complexities of the political economy of Web 2.0, as well as implicate an ethics of exposure concerning how these processes at once participate in the erosion of privacy, and at the same time, in the reinforcement of commodification and surveillance regimes. (shrink)

Jean-Luc Nancy considers art to be of a great importance in his project of a deconstruction of Christianity. This article focuses on his analysis of the monotheist provenance of the notions of image and representation. According to Nancy, art and monotheism can be thought of as cooriginary. Art, or the image, gives monotheism invisibility as a negative and yet paradoxically sensible modality of the withdrawal of God. In turn, monotheism gives art the internal opening towards indefinite sense that results (...) from such withdrawal. Nancy suggests that the notion of representation can be understood as an effect of the radical absence of God, and that the notion of image can be understood as conditioned by the Christian idea of incarnation. The article traces the way Nancy interprets this idea and shows its effects on a Western comprehension of art. (shrink)

Despite the prevalence of post-colonial theory in the humanities and social sciences, why is it that the two main secular formations in the study of religion(s), as philosophy of religion and history of religions, continue to deploy very similar mechanisms that reconstitute past imperialisms such as the hegemony of theory as specifically Western and/or the division of labor between universal and particular knowledge formations? To answer this question this paper stages an oblique engagement between the seemingly divergent discourses: (i) philosophy (...) of religion, (ii) history of religion—more specifically the area specialism called South Asian religions, and (iii) post-colonial theory especially where these discourses intersect with the discipline of Indology and the representation of Indic phenomena. A different version of this engagement occurs in Hegel’s Lectures on the Philosophy of Religion (LPR). A post-colonial reading of the LPR reveals closer and often unacknowledged connections between the birth of these two disciplines. More importantly the LPR anticipates the auto-immunizing mechanism that underpins the continued lack of engagement between the various disciplines of contemporary religions. Ironically, this mechanism, it will be argued, is located in the very heart of the comparative enterprise itself. (shrink)

The aim of this paper is to propose a self-representational theory of phenomenal consciousness from Sartre. For it I will clarify and show the closeness of two ideas. The first of these is the so-called self-representational theory of consciousness, which holds that a mental state is conscious if and only if it represents itself in the right way. The second of these are the descriptions of consciousness from Sartre, which say that all consciousness is self-consciousness of itself, or more precisely: (...) every positional consciousness of an object is at the same time a non-positional consciousness of itself. With the above, the phenomenal consciousness would be self-consciousness of itself and the self-consciousness of itself would be self-representation. (shrink)

The chapter deals both with the changing relations boys and men have had and have with ‘classic’ cars of the 1950s–1960s, and with the social relations classic cars aficionados have had and have between them apropos these machines that have survived and are still used, and therefore illustrate what has to be done so that artefacts do not become archaeological items. It raises an anthropological question having to do with what is at the core of the anthropology of objects, techniques, (...) and material actions, namely: What do interactions with the material world do that words alone could not do? The answer the chapter proposes is that by doing and making things in relation to these cars, men build, in a partially non-verbal way, a core of shared representations. In turn, this shared mixture of thoughts and actions is central to diverse social groupings and manifestations. (shrink)

En 1893, « physicien-ingénieur » André Blondel invente l’oscillographe bifilaire permettant de visualiser les tensions et courants variables. À l’aide de ce puissant moyen d’investigation, il entreprend tout d’abord l’étude des phénomènes de l’arc électrique alors utilisé pour l’éclairage côtier et urbain puis de l’arc chantant employé comme émetteur d’ondes radioélectriques en T.S.F. En 1905, il met en évidence un nouveau type d’oscillations non-sinusoïdales au sein de l’arc chantant. Vingt ans plus tard, Balthasar Van der Pol reconnaitra qu’il s’agissait en (...) réalité d’oscillations de relaxation. Pour expliquer ce phénomène, il fait appel à une representation dans le plan de phase et montre que son évolution prend la forme de petits cycles. Pendant le premier conflit mondial la triode remplace peu à peu l’arc chantant dans les systèmes de transmission. Au sortir de la guerre, Blondel transpose à la triode la plupart de ses résultats par analogie avec l’arc chantant. En avril 1919, il publie un long mémoire dans lequel il introduit la terminologie « oscillations auto- entretenues » et propose d’illustrer ce concept à partir de l’exemple du vase de Tantale qui sera ensuite repris par Van der Pol et par Philippe Le Corbeiller. Il fournit alors une définition d’un système auto-entretenu assez proche de celles qui seront données par la suite par Aleksandr’ Andronov et Van der Pol. Pour étudier la stabilité des oscillations entretenues par la triode et par l’arc chantant il utilise cette fois une représentation dans le plan complexe et explicite l’amplitude en coordonnées polaires. Il justifie alors l’entretien des oscillations par l’existence de cycles qui présentent presque toutes les caractéristiques des cycles limites de Poincaré. Enfin, en novembre 1919, Blondel réalise, un an avant Van der Pol, la mise en équation des oscillations d’une triode. En mars 1926, Blondel établit l’équation différentielle caractérisant les oscillations de l’arc chantant, en tous points similaire à celle qu’obtient concomitamment Van der Pol pour la triode. Ainsi, tout au long de sa carrière, Blondel, a apporté une contribution fondamentale et relativement méconnue à l’élaboration de la théorie des oscillations non linéaires. L’objet de cet article est donc d’analyser ses principaux travaux dans ce domaine et de mesurer leur importance, voire leur influence en les replaçant dans la perspective du développement de cette théorie. (shrink)

There has been much interest in the possibility of connectionist models whose representations can be endowed with compositional structure, and a variety of such models have been proposed. These models typically use distributed representations that arise from the functional composition of constituent parts. Functional composition and decomposition alone, however, yield only an implementation of classical symbolic theories. This paper explores the possibility of moving beyond implementation by exploiting holistic structure-sensitive operations on distributed representations. An experiment is performed using Pollack’s Recursive (...) Auto-Associative Memory. RAAM is used to construct distributed representations of syntactically structured sentences. A feed-forward network is then trained to operate directly on these representations, modeling syn- tactic transformations of the represented sentences. Successful training and generalization is obtained, demonstrating that the implicit structure present in these representations can be used for a kind of structure-sensitive processing unique to the connectionist domain. (shrink)

The aim of this paper is to propose a self-representational theory of phenomenal consciousness from Sartre. For it I will clarify and show the closeness of two ideas. The first of these is the so-called self-representational theory of consciousness, which holds that a mental state is conscious if and only if it represents itself in the right way. The second of these are the descriptions of consciousness from Sartre, which say that all consciousness is self-consciousness of itself, or more precisely: (...) every positional consciousness of an object is at the same time a non-positional consciousness of itself. With the above, the phenomenal consciousness would be self-consciousness of itself and the self-consciousness of itself would be self-representation. (shrink)

The aim of this paper is to propose a self-representational theory of phenomenal consciousness from Sartre. For it I will clarify and show the closeness of two ideas. The first of these is the so-called self-representational theory of consciousness, which holds that a mental state is conscious if and only if it represents itself in the right way. The second of these are the descriptions of consciousness from Sartre, which say that all consciousness is self-consciousness of itself, or more precisely: (...) every positional consciousness of an object is at the same time a non-positional consciousness of itself. With the above, the phenomenal consciousness would be self-consciousness of itself and the self-consciousness of itself would be self-representation. (shrink)

The cultural turn has yet to fully reconfigure ‘class’ as a set of fictions, tropes, discourses and enduring culture-structures. Existing Durkheimian approaches have stalled at his middle period morphological reductionism. This paper constructs a more radical understanding in the late-Durkheimian idiom. It shows how class operates as a signifier in a language game of purity and pollution, virtue and vice. Taking a lead from studies of the ‘unruly’ working class, the paper opens up the more subtle pollution that attends to (...) the mythical ‘bourgeoisie’ and its associated and imagined ‘bourgeois’ culture. As a sign system this class location is deemed inauthentic, sybaritic, and as strangely deadening to cultural vitality. Although commonly found in contexts of gentrification and commodification that involve class conflict, this critical discourse is also applied within the bourgeois milieu. Such needless auto-critique suggests a relative autonomy from determination by class struggle. The possibilities for this approach are illustrated at length with reference to a paradigm case: the highly bourgeois milieu of the composer Richard Wagner and his Bayreuth Festival. (shrink)

Resumo: Palavras-chave: : Keywords: Child literature. Female subject. Representation. The child literature is inhabited by female characters as central figures of the narrative, some of them famous and popular. The decade of 1980 saw the raise of authors who introduce works that have recognized aesthetic value in which female characters play a prominent role. For example, Isabel (Bel), narrator character from the work Bisa Bia, Bisa Bel (1981), by Ana Maria Machado, who is lead through a path toward her (...) autonomy. This paper is concerned with the representation of a female subject who even in its early age is able to establish a dialogue between different epochs, presenting different women perspectives, the old one, Bisa Bia, XIX century representative, and the other one, modern, independent, from the late XX century. Literatura infantil. Sujeito feminino. Representação. A literatura infantil encontra-se povoada de personagens femininas como figuras centrais de narrativas, algumas delas, famosas e populares. A partir de 1980, surgiram autores que apresentam obras de reconhecido valor estético, nas quais personagens femininas mirins têm um lugar de destaque. Fala-se, por exemplo, de Isabel (Bel), personagem narradora da obra Bisa Bia, Bisa Bel (1981), de Ana Maria Machado, que percorre um caminho rumo à autonomia. O presente trabalho volta-se para a representação de um sujeito feminino que, ainda em tenra idade, consegue estabelecer um diálogo entre épocas diferentes, apresentando visões diversas da mulher, uma antiga, Bisa Bia, típica do século XIX, e outra, Bel, moderna, independente, do fim do século XX. (shrink)

: In prior essays I have sketched a “modal model” of consciousness. That model “factors” out several distinct forms of awareness in the phenomenological structure of a typical act of consciousness. Here we consider implications of the model à propos of contemporary theories of consciousness. In particular, we distinguish phenomenality from other features of awareness in a conscious experience: “what it is like” to have an experience involves several different factors. Further, we should see these factors as typical of consciousness, (...) rather than essential features, allowing that some elements of awareness may be absent while others are present in certain less typical cases. Keywords : consciousness; Higher-order Theories of Consciousness; Self-representational Theories of Consciousness; Phenomenality; Phenomenological Theories of Consciousness I diversi elementi della coscienza Riassunto : In lavori precedenti ho cercato di proporre un “modello modale” della coscienza. Questo modello “considera” forme differenti e distinte di consapevolezza che sono presenti nella struttura fenomenologica di un atto tipico di coscienza. Qui intendo considerare alcune implicazioni di questo modello in relazione ad alcune teorie contemporanee della coscienza. In particolare, distingueremo la fenomenicità da altre proprietà della consapevolezza all’interno di un’esperienza cosciente: il “che cosa si prova” a essere titolari un’esperienza implica elementi differenti e distinti. Inoltre, dovremo considerare questi elementi come caratteri tipici della coscienza e non come proprietà essenziali, riconoscendo che alcuni elementi della consapevolezza possono essere assenti, mentre altri sono presenti in alcuni casi meno frequenti. Parole chiave : coscienza; Teorie della coscienza di alto livello; Teorie auto-rappresentazionali della coscienza; Fenomenicità; Teorie fenomenologiche della coscienza. (shrink)

Que la philosophie ancienne ait bénéficié de certains raffinements méthodologiques dus à la philosophie analytique n’est guère mis en question, même par ceux qui ne s’en réclament pas. À la grande époque de la philosophie analytique, certains de ses meilleurs représentants étaient encore fort versés en histoire de la philosophie et appliquaient leurs compétences analytiques à ce qu’ils considéraient comme des problèmes centraux chez les auteurs anciens. Cet article suggère à travers deux exemples que, s’agissant de Platon, cette attention n’a (...) pas eu seulement des effets revigorants, mais également déformants. Dans le premier cas, la méthode diérétique si chérie de Platon a été marginalisée par d’éminents philosophes analytiques qui l’ont considérée comme triviale et inintéressante. Dans le second cas, le problème de l’« auto‑prédication » des Idées, qui est celui de savoir si les Idées sont des entités qui possèdent les propriétés qu’elles représentent, a été considéré d’une importance décisive pour la théorie platonicienne des Idées. À cause de ses conséquences supposément désastreuses, mentionnées une unique fois dans le Parménide, on a pensé que Platon avait renoncé à cette théorie sous sa forme classique. Au cours des dernières années, l’importance de la méthode diérétique a été réévaluée et celle du problème de l’auto-prédication réduite à de plus justes proportions. Cela ne diminue pas la valeur des contributions des philosophes analytiques à l’étude de Platon, mais signifie seulement qu’elles doivent n’être acceptées qu’avec précaution. (shrink)

La question des frontières des arts plastiques et littéraires contemporains peut être approchée à travers l'exemple de la géopoétique de Kenneth White. Renonçant à réduire l'art à la production d'une représentation dominée par le plaisir de la vue, le mouvement esthétique de la géopoétique cherche à faire de la création artistique un geste de participation aux matières de la terre sur fond d'une expérience polysensorielle où la marche et le nomadisme constituent des explorations d'un proto-monde. L'oeuvre écrite ou plastique est (...) destinée à conserver des fragments et traces de cette aventure sensible, ouvrant ainsi la voie à une rencontre qui n'est plus un spectacle mais une expérience quasi chamanique. Reste à savoir dans quelle mesure on peut s'émanciper totalement de la représentation pour accéder à une auto-présentation du cosmos dont l'artiste serait le médium. (shrink)

Paul Bernier | : Cet article discute de diverses versions du représentationnalisme de la conscience. L’objectif principal est de défendre une interprétation de la théorie auto-représentationnelle de la conscience (TARC) selon laquelle le contenu d’un état mental conscient serait une proposition de re qui est constituée, en partie, par l’état mental conscient lui-même. Je souligne d’abord certains problèmes importants auxquels est confrontée une des théories de la conscience les plus influentes, soit la théorie représentationnelle de la conscience (TRC) et (...) soutiens que la principale théorie rivale, soit la théorie de la conscience d’ordre supérieur (TCOS) doit lui être préférée. Je montre que les versions standards de la TCOS sont confrontées à un problème de régression à l’infini intolérable, et je propose la TARC comme une version non standard de la TCOS. | : This article discusses various versions of Consciousness Representationalism. Its main purpose is to defend an interpretation of the Self-Representational Theory of Consciousness (SRTC) according to which the content of a conscious state is a de re proposition which is constituted, in part, by the very conscious state itself. I first undescore some important problems for the Representational Theory of Consciousness (RTC), which is one of the most influential approach in the literature. I argue that the main rival theory, the Higher-Order Theory of Consciousness (HOTC) should be preferred. I argue that the standard versions of the HOTC are faced with an intolerable infinite regress and I propose the SRTC as a non-standard version of the HOTC. (shrink)

Cet article souhaite montrer que les modèles spatiaux, physiques ou expérientiels, proposés généralement pour rendre compte du fonctionnement des particules verbales en anglais, posent de nombreux problèmes. En particulier, il s’avère impossible de réduire le signifié de UP à l’expression d’un « mouvement vertical vers le haut » et les valeurs non spatiales sont très nombreuses. L’alternative décrite ici, dans le cadre général de la Théorie de la Relation Interlocutive, consiste à rechercher dans le fonctionnement même du système linguistique les (...) causes et les motifs à la fois de la structuration spatiale et non spatiale. Cette recherche s’appuie sur une définition systémique du langage fondée sur l’auto-référence et l’auto-organisation, plutôt que sur des stimuli environnementaux qui seraient plus ou moins « évidents ». (shrink)

미셸 앙리는 1985년 출간한 『정신분석의 계보-잃어버린 기원』에서 프로이트가 데카르트의 계승자라는 놀라운 진술을 펼친다. 그를 따르면 무의식 개념은 의식 개념으로부터, 좀 더 정확히 말해 그 ‘일탈’로부터 나왔다. 의식 개념의 일탈에서 보면 그것은 무의식이지만, 데카르트가 확립한 최초의 의식 개념으로 회귀해 보면 그것은 의식과 다르지 않다. 이 같은 독해를 이해하려면 먼저 후설의 ‘순수 환원’에 반대하여 미셸 앙리가 요구한 ‘근본적 환원’의 의미를 파악해야 한다. 이 근본적 환원의 수행 속에서만 데카르트가 발견하고 후설이 놓친 코기토의 현상학적 의미가 모습을 드러낸다. 코기토에 대한 앙리의 독창적 해석은 하이데거식 해석에 (...) 반대하여 의식 개념이 내포하는 ‘자기성’의 의미를 새로운 관점에서 드러낸다. 그것은 표상의 자기성이 아니라 촉발의 자기성이다. 최초의 의식은 자기의 자기촉발(auto-affection de soi)이다. 여기서 표상은 철저히 배제된다. 표상의 저편에서, 좀 더 정확히 말해 표상작용 이전에 그 가능 조건으로서 도래하는 의식이 프로이트의 무의식이다. 무의식은 최초로 도래하는 것, 삶, 그와 같은 것으로 정서 이외 다른 아무것도 아니다. 이로써 무의식은 존재론적 해명을 얻고 무의식이기를 멈춘다. 정신분석에 대한 앙리의 이 같은 독해는 앙리 이후에도 계속 요구돼야 한다. 그 독해의 의의를 드러내기를 멈출 수 없는 이유이며, 이 논문이 작성된 이유이기도 하다. 무의식이 무엇인지 묻기 전에 먼저 의식이 무엇인지를 묻고자. 그런 다음에서야 무의식 개념이 왜 비결정적 개념으로 있을 수밖에 없었는지를 이해하게 된다. 이 논문은 앙리 독해를 중심으로 프로이트의 무의식이 어떻게 데카르트의 코기토를 만나게 되는지를 보여주고자 한다. (shrink)

Cet article souhaite montrer que les modèles spatiaux, physiques ou expérientiels, proposés généralement pour rendre compte du fonctionnement des particules verbales en anglais, posent de nombreux problèmes. En particulier, il s’avère impossible de réduire le signifié de UP à l’expression d’un « mouvement vertical vers le haut » et les valeurs non spatiales sont très nombreuses. L’alternative décrite ici, dans le cadre général de la Théorie de la Relation Interlocutive, consiste à rechercher dans le fonctionnement même du système linguistique les (...) causes et les motifs à la fois de la structuration spatiale et non spatiale. Cette recherche s’appuie sur une définition systémique du langage fondée sur l’auto-référence et l’auto-organisation, plutôt que sur des stimuli environnementaux qui seraient plus ou moins « évidents ». (shrink)

A clarification of Husserl's changing conceptions of imaginary consciousness ( phantasy ) and memory, especially at the level of auto-affective time-consciousness, suggests an interpretation of Freud's concept of the Unconscious. Phenomenology of consciousness can show how it is possible that consciousness can bring to present appearance something unconscious, that is, something foreign or absent to consciousness, without incorporating it into or subordinating it to the conscious present. This phenomenological analysis of Freud's concept of the Unconscious leads to a partial (...) critique of Freud's metapsychological determination of the Unconscious as a simple, internally unperceived representational consciousness. It also suggests an account of how a reproductive inner consciousness can free the subject from the experience of anxiety by allowing for possibilities of self-distanciation and symbolic self-representation that protect the subject from traumatic affection by and through its own instinctual drives. (shrink)

Going beyond the creolisation theories of Brathwaite and Glissant, I attempt to develop ideas concerning the gendering of creolisation, and a historicising of affects within it. Addressing affects as ‘physiological things’ contextualised in the history of the Caribbean slave plantation, I seek, importantly, to delineate a trajectory and development of a specific Creole history in relation to affects. Brathwaite's proposition that ‘the most significant (and lasting) inter-cultural creolisation took place’ within the ‘intimate’ space of ‘sexual relations’ is key to my (...) argument. In the light of this, I consider how Creole cultural knowledge about affect—as the primary motivational system inclusive of fear, anger, outrage and so on — might be identified, and what constitutes such Creole knowledge within which affect might be embedded. How might Glissant's relationality and Creole literary texts add to this knowledge? I focus primarily on three texts: Clarke's The Polished Hoe, Collins’ The Colour of Forgetting and Morejón's ‘Amo a mi amo’/‘l Love My Master’. Each text on which I draw is selected for its intersectional representation of gender relations, ‘knowledge about sexual difference’ and its representation of Creole subjectivities within the context problematised here as the ‘demonic ground’. Moreover, as auto-theorising texts, they represent both narrative and meta-narrative of a creolising of affects in and against the economy of the slave plantation. Each represents also a stage or aspect of the development of subjectivities and an affective community that inform this intervention concerned with theorising against consolidated, universalising and Eurocentric conceptualisations of affect. In the process, I attempt to offer a differentiated cartography and literary archaeology of affect. (shrink)

La tradition phénoménologique s'oppose aux sciences cogmttves contemporaines en ceci que le corps propre n'est pas, pour elle, une simple chose du monde physique dont l'esprit-cerveau contiendrait une représentation mentale, mais qu'il est plutôt constitué en son sens d'être pour le sujet par son usage et son appropriation active par ce même sujet, en tant qu'être agissant. Or, il existe une affinité, encore non reconnue, entre cette conception et celle qui ressort de la littérature en cartographie cérébrale des vingt dernières (...) années, d'une neurodynamique morphogénétique fonctionnelle induite et modulée par l'expérience, en une relative autonomie par rapport aux structures anatomiques du corps comme aux frontières cytoarchitectoniques du cerveau. Tirant parti de cette affinité, nous prenons appui sur les données des neurosciences pour réhabiliter contre sa dévalorisation par les sciences cognitives la théorie de la constitution de Husserl, en revenant de ses adaptations ultérieures (Merleau-Ponty) à sa forme authentique, qui est celle de l'auto-constitution subjective (transcendantale) du corps propre sur la base de l'expérience pratico-kinesthésique du «je meus mon corps ». (shrink)

The phenomenological reading of psychoanalysis undertook by Michel Henry is surprising in several ways. By inscribing Freud in the philosophical lineage and by affirming that his theses on the unconscious take over (resume), ignoring it, two opposite movements of western metaphysics, Henry intends to show that psychoanalysis has to overcome the primacy of representation in order to get rid of the contradictions that traverse it and that make it a prisoner of a philosophy of consciousness. Without fully rejecting the (...) Freudian theory, the author of the Genealogy of Psychoanalysis reformulates the meaning of the meta-psychological notions according to his theses on the cogito, subjectivity and the auto-affection of the living. In this article we retraced the stakes of this redefinition of drives, affect and the unconscious considering his reflexions on repression. (shrink)

During the IAEA’s Mobile Radioisotope Exhibition (1960–1965) through the eventful roads of five Latin American countries (Mexico, Uruguay, Argentina, Brazil, and Bolivia), a variety of photographs were taken by an unknown Mexican official photographer, and by Josef Obermayer, a staff driver from Vienna. The exhibition carried not only bits of nuclear sciences and technologies, but also the political symbolism of the ‘friendly atom’ as a token of modernization. The photographs embarked on different trajectories, though all of them ended up at (...) the training and exchange official’s desk in charge of the exhibition, Argentinian physicist Arturo Cairo. The ones taken in Mexico also had a local circulation as propaganda intended to promote radioisotope applications. The two sets of images were intended to show the contrast between modernity and traditional society, but they did it from different gazes. Our paper argues that, in the case of Mexico, the photographer reinforced representations of the country which were already popularized by Hollywood for foreign and local audiences. On the other hand, the Viennese photographer’s gaze delivers an autoethnography of his dutiful journey. We also argue that Obermayer’s projection is one of what Roger Bartra has conceptualized as the ‘salvage on the mirror’. (shrink)

This article argues that psychoanalytic notions of affect – including ideas of anxiety and melancholia, as well as deconstructive concepts of auto-affection – offer a feminist ethico-politics and a notion of affect as interface. Beyond the confines of the experiential and the positivist, both psychoanalysis and deconstruction provide insights into affect as a technology that understands the subject as porous. I consider works by Derek Jarman and Shirin Neshat to demonstrate the importance of the ethico-politics of affect as interface (...) in contemporary cultural production. Both artists, in the process of considering the spectacular nature of notions of feminist and queer, use images of interface as a way of delimiting the spectacular nature of being and demonstrating the singularity of the event, the desire to fix through framing, and the parergonal nature of framing. The presence of the subject is questioned even as an auto-affection is suggestive of a spectral demand of the ethico-political. In the case of Jarman’s Blue, the denial of image as face in favour of the screen as interface is interrupted by sound and voice, which gesture toward representation as impossible but necessary. In the case of Neshat, the persistence of the photographic – the highly aesthetic self-portrait as mugshot – foregrounds face as interface, as one that questions presence through the insistence of a representational apparatus. (shrink)

Offender populations experience their incarceration through different lenses and often as a spiritual journey of suffering. During 2017 and 2018 a study was conducted by the authors with 30 men serving long-term sentences in Correctional Centre A, Zonderwater Management Area in the Gauteng province of South Africa. Following interviews and focus group sessions, the authors report on participants’ representations on how their constructed views of God assist them to find meaning in suffering while incarcerated. Narrative inquiry as a philosophical framework (...) was applied, which presupposes equality between the researcher and the participant, the unmediated representation of words as data, the researcher as auto-ethnographer and respectful submission to subjectivity. Participants’ views of God are thematised according to sets of God-images, firstly, as identified by Van der Ven in his book God Reinvented?, adapted by the authors to suit the contents of the participants’ God talk. Secondly, the ‘God-images in Africa’ were applied. The participants’ constructed God-images are divided into two categories: images that feed on the binary between divine and human and images that function in the dialogical spaces between divine and human where the incarcerated have internalised an external God. Binary images of God are presented by the apathetic God, retributive God, controlling God and the purifying God. However, a significant number of participants expressed their belief in God through the dialogical image of the compassionate God, and the suffering God as co-sufferer. The role of Africanness in constructing these God-images constitutes a special point of inquiry in this article, as reflected in the images of God defined by God the Great Ancestor and Divine Spirit, and God with whom a mystical union is formed. (shrink)

E. Levinas et M. Henry reconnaissent tous deux l’importance pour la philosophie occidentale de la pensée de Husserl, mais ils s’en démarquent car ils la trouvent trop intellectualiste. C’est pourquoi ils vont chercher respectivement dans l’autre et dans la vie auto-affective une issue radicale à toute représentation ou discours théorique. L’auteur de cette étude met dès lors en évidence le fait que la critique, par ces deux phénoménologues, des philosophies de la conscience les amène à décrire, dans le cadre (...) de ce qu’elle propose d’appeler une « méta-phénoménologie », des « attitudes » telles que le désir, la douleur et la fatigue. Il sera question dès lors de tâcher de répondre aux questions portant sur la possibilité d’une refondation de la phénoménologie qui irait « au-delà » ou « en deçà » de ce que cette démarche philosophique s’est donné elle-même comme horizon. (shrink)

Cette étude met en confrontation Michel Henry avec Paul Ricoeur sur la question de la lecture de S. Freud. Il y est donc question de la psyché et de l’affectivité. L’auteur de l’étude rappelle combien le projet de la rationalité contemporaine conjoint des thèses philosophiques sur le statut du sujet et sur celui des schèmes perceptifs de la conscience, au gré d’une relation complexe entre l’étant et le phénomène. L’auteur rappelle les analyses husserliennes relatives à la psyché entendue comme « (...) vie » et ses effets de co-implication. Chez M. Henry, l’inconscient est toutefois compris, soit comme un « inconscient de la représentation », mais cela dans une perspective critique, soit comme cet autre nom de la « vie », spécifiquement dans ses structures d’auto-révélation et d’auto-affectivité. En reprenant la nature du débat entre M. Henry et P. Ricoeur, l’auteur montre que tout l’enjeu réside dans la place que l’on confère aux effets et opérations de la dialectique et de la réflexivité. (shrink)

Ce texte est consacré à la conception de la liberté absolue chez Schelling, telle qu’elle est exposée dans les Weltalter et accomplie dans la philosophie tardive. À partir d’une élucidation des rapports entre liberté, nécessité et contingence, nous souhaitons montrer que Schelling parvient à développer un nouveau concept de liberté absolue qui d’une part ne concerne pas seulement Dieu mais aussi l’homme, et qui d’autre part dépasse la liberté kantienne comme autonomie et autodétermination, mais aussi la liberté de l’É crit (...) sur la liberté de 1809 comme « pouvoir du bien et du mal ». En outre, nous soutenons que la liberté du Dieu « Seigneur de l’être » de la philosophie de Munich et Berlin se distingue de celle du Dieu seulement « sur-étant » des Weltalter. Seule la « liberté d’être et de ne pas être » du « Seigneur de l’être » représente une forme de liberté à laquelle l’homme peut et doit tendre, une liberté non pas de l’auto-anéantissement, mais du don de soi, liberté suprême qui n’est autre que celle de l’amour. (shrink)

L’interpellation plébéienne est un concept visant à nommer la force politique des soulèvements populaires et des actions directes spontanées. En modifiant le concept althussérien d’ interpellation et en le combinant à celui d’ expérience plébéienne (Breaugh, 2007), il s’agit de rendre compte de l’auto-interpellation des « sans-part » (Rancière, 1990) par laquelle ils se donnent leurs propres conditions de possibilité dans des actions collectives. Le propre de ces actions est précisément de surgir en dehors des formes ritualisées de constitution (...) de l’espace public. Elles sont intraitables dans ce qu’elles refusent toute catégorisation mais également dans ce qu’elles débordent toute représentation de « vivre-ensemble » de l’ordre politique. Cette forme « sauvage » d’interpellation se manifeste dans des moments de révolte ou de « sécession », d’interruption du cours normal de la reproduction du social. La plèbe doit être saisie pour ce qu’elle est, dans le tumulte vif de sa manifestation. (shrink)

En dépit de l'apparente diversité de leurs objets, les deux parties qui composent cette Introduction à la philosophie de la mythologie traduisent un unique dessein : opposer à la dialectique hégélienne alors triomphante une dialectique plus authentique, car reconduite à sa source grecque - chez Platon, mais aussi, de manière plus inattendue, chez Aristote. Le ressort de cette dialectique consiste dans l'auto-élimination progressive de tout ce qui est de l'ordre de l'hypothèse, du possible, de la " puissance ", pour (...) que surgisse, à la fin, la singularité nue et inébranlable d'un fait. La première partie, la plus anciennement rédigée, applique cette méthode à la mythologie, et, après avoir fait s'effondrer les différentes " explications "de celle-ci, débouche sur l'historicité radicale du processus au long duquel, dans la métamorphose réglée des dieux, se constitue la " religion sauvage "de l'humanité. La seconde partie, qui représente en philosophie le dernier mot de Schelling, va soumettre au travail dialectique le contenu le plus immédiat de la pensée, l'idée de l'Être (ou de l'Etant,?????, comme préfère dire Schelling, là encore fidèle aux Grecs), dont la patiente et minutieuse déconstruction dégagera le noyau caché, l'acte pur d'exister, que la raison ne peut plus contenir et qu'elle doit poser hors d'elle-même comme le point de départ d'une philosophie encore inouïe - la philosophie positive. Tentative de comprendre la religion immémoriale du passé, tentative de fonder la religion spirituelle de l'avenir, l'Introduction à la philosophie de la mythologie, mêlant la plus grandiose ambition à l'érudition la plus pointue, nous offre le testament intellectuel de celui qui fut le dernier survivant de l'idéalisme allemand. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Brandom's method of analyzing pragmatic relations among different practices and vocabularies through meaning-use diagrams is used to specify how Laruelle's nonphilosophical suspension of the Principle of Sufficient Philosophy may be distinguished from the philosophical auto-critiques of such thinkers as Badiou and Derrida. A superposition of diagrams modeling philosophical sufficiency on the one hand and supplementation through the Other on the other provides a schematic representation of the core duality of what Laruelle calls The-Philosophy. In contrast to this self-implicating (...) and self-reproducing structure, Laruelle's axiomatic method is shown to enable a unilateral usage of the practices and vocabularies of philosophy as mere material that is no longer subject to the presuppositions or ineluctable restitution of philosophy as such. (shrink)

Cet essai aborde la question phénoménologique fondamentale de la donation de l’apparaître. L’auteur commence par noter que la distinction husserlienne entre l’apparaître comme vécu (Erscheinen als Erleben) et ce qui apparaît (das Erscheinende) ou phénomène a été critiquée à partir de deux perspectives différentes dont Patočka et Henry sont, respectivement, deux représentants importants. Quoique tous deux critiquent la même distinction husserlienne, l’auteur montre cependant que leurs critiques prennent en réalité des directions opposées. Patočka entend développer une phénoménologie asubjective dans laquelle (...) la donation fondamentale de toute apparence se trouve dans le « se-montrer-soi-même » (Sich-selbst-zeigen) des êtres. Plutôt que dans le domaine de l’auto-donation du vécu de l’expérience (Erleben), cette phénoménologie fonde l’apparence dans la sphère phénoménologique globale du monde. Henry, quant à lui, ne rejette pas le domaine subjectif mais renforce bien plutôt son importance en radicalisant la distinction husserlienne entre l’expérience et le phénomène et en la remplaçant par la différence qu’il établit entre révélation et manifestation. La manifestation suppose toujours la distance et l’intentionnalité. La révélation, en revanche, peut être comprise comme une radicalisation de l’expérience husserlienne, puisqu’elle est un mode d’apparaître qui n’implique pas une forme de pensée (meinen) et d’intentionnalité. Elle est, en tant que telle, exempte de la distance que Henry exclut du domaine d’intériorité où se produit la révélation. L’auteur discute alors ce contraste entre Patočka et Henry et montre à quel point l’accent mis sur le monde dans l’explication de la donation donnée par le premier diffère de la relation à soi subjective qui est au cœur de l’explication de la donation offerte par le second. (shrink)

This essay considers Moscow’s simultaneously peripheral and central position on the global fashion map. It is predicated on a study of imaginary Russian geographies presented in Vogue and other fashion media, advertisements and promotional activities by important fashion brands, as well as the promotional texts and visuals of several new Russian fashion designers. While these different players all contribute to shaping the imagery of Russian fashion today, their agendas and aesthetics differ. This essay identifies three main approaches within the field (...) of the symbolic production of Russian fashion. Western fashion designers and fashion media mainly rely on Russian imperial sartorial heritage in their orientalizing approach to Russian fashion. Secondly, Russian Vogue perpetuates Moscow’s peripheral international fashion position either by passively transmitting derivative Western representations of Russianness, or by reconstructing its own high-fashion versions of traditional Russian decorative style. Finally, several young Russian fashion designers deconstruct both traditional Russian and socialist iconography, in a fundamentally new development for the country’s fashion scene. (shrink)

À travers l'analyse d'exemples ethnographiques, la question posée fut de savoir si la séduction a besoin d'un rituel pour se réaliser. Défini comme des modèles de conduite, le rituel engendre une codification et une répétitivité des comportements des acteurs sociaux. Le rituel comporte une transmission d'informations codifiées selon des normes, qui s'applique à la séduction. La séduction se construit sur une invention de l'individu par lui-même, dans l'image qu'il choisit d'endosser afin de susciter un lien avec l'autre sexe. Mode spécifique (...) de communication, la séduction s'élabore sur un acte de parole et une attitude gestuelle prise dans le sens d'un positionnement particulier du corps. Pour créer une mise en scène de soi, l'individu se sert durant l'interaction sociale d'attitudes rituelles et de représentations normatives. Elle a besoin du rituel pour pouvoir être performative et déchiffrée par le récepteur; sans le rituel, elle serait incompréhensible ou mal interprétée par le destinataire du message. Dans la séduction, on peut conclure que le rituel mis en oeuvre relève à la fois de l'auto-séduction, de la théâtralisation et de la mimesis.Through the analysis of ethnographic examples, the question was whether the seduction needed to perform a ritual. Defined as behavior patterns, ritual creates a codification and repetitive behaviors of social actors. The ritual involves the transmission of information coded according to standards which apply to seduction. Seduction is built on an invention by the individual himself in the image he chooses to endorse in order to create a link with the other sex. Specific mode of communication, seduction is developed on an act of speech and gestural attitude taken in the sense of a particular position of the body. To create a staging itself, the individual uses during social interaction ritual attitudes and normative representations. She needs to be performative ritual and decrypted by the receiver without the ritual, it would be incomprehensible or misinterpreted by the recipient. In seduction, we can conclude that the ritual is implemented both self-seduction, and theatrical mimesis. (shrink)

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared have (...) to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love. (shrink)

‘Femininity’ is a concept formed by structures of class difference: to be ‘feminine’ is to fit into an idealised higher-class position. Working-class women, without the financial or cultural capital to successfully perform femininity, are regularly cast down into the realms of the grotesque. This ‘fall from grace’ has repercussions on the representation and lived experiences of women who are then defined negatively. Contemporary British media stories are full of demonising depictions of working-class women deemed grotesque for not presenting themselves (...) with sufficiently ‘classy’ femininity. This article provides a rereading of the images made by British photographer Richard Billingham of his mother Liz, against the grain of much classist and misogynistic critical writing. The author discusses what happens when women reject the aspiration to transcend their supposedly faulty working-class femininity, and instead of trying to ‘better themselves’ through class-passing choose to present aspects of a working-class identity that firmly situate them within an undesirable class position. By employing an auto-ethnographic approach, the author offers new receptions of such images that have often been dismissed and discussed derogatorily, by bringing to bear her own lived experience of being a woman from a working-class background to offer narratives rarely explored in academic texts. The author shows that by thinking through an alternative femininity, via an ‘Anti-Pygmalion’ aesthetic, we can reclaim the negative descriptions of working-class women as grotesque, and begin to question the constructions of femininity itself. (shrink)

After people learn to sort objects into categories they see them differently. Members of the same category look more alike and members of different categories look more different. This phenomenon of within-category compression and between-category separation in similarity space is called categorical perception (CP). It is exhibited by human subjects, animals and neural net models. In backpropagation nets trained first to auto-associate 12 stimuli varying along a onedimensional continuum and then to sort them into 3 categories, CP arises as (...) a natural side-effect because of four factors: (1) Maximal interstimulus separation in hidden-unit space during autoassociation learning, (2) movement toward linear separability during categorization learning, (3) inverse-distance repulsive force exerted by the between-category boundary, and (4) the modulating effects of input iconicity, especially in interpolating CP to untrained regions of the continuum. Once similarity space has been "warped" in this way, the compressed and separated "chunks" have symbolic labels which could then be combined into symbol strings that constitute propositions about objects. The meanings of such symbolic representations would be "grounded" in the system's capacity to pick out from their sensory projections the object categories that the propositions were about. (shrink)

Le sujet qui perçoit, ressent, se remémore, ou imagine a conscience de son activité mentale, et notamment du mode — perceptif, mnésique ou autre — de ses états. Le mode des états expérientiels va de pair avec une relation spécifique (variable selon le mode) du sujet à ce que l'état représente. Par exemple, le sujet qui se remémore se trouve (normalement) dans une certaine relation à la scène remémorée : il a perçu celle-ci dans le passé. La thèse principale de (...) l'article est que le sujet conscient d'être dans un état donné s'auto-attribue implicitement cette relation avec ce que l'état représente. Cette auto-attribution implicite (immunisée aux erreurs d'identification) constitue la présence du sujet «comme sujet » dans le contenu de ses expériences, distincte de sa présence « comme objet » lorsqu'il fait lui-même partie de la scène représentée. [English abstract] The subject who perceives, feels, remembers or imagines is conscious of his or her experiential states and, in particular, of their ‘mode'. The mode is what enables us to classify experiential states into types such as perceptions, memories, etc., quite independent of the content of the state (what is perceived, remembered, etc.). It is argued that the mode M of an experience determines that (if all goes well) a certain relation RM holds between the subject of the experience and what the experience represents. For example, the subject who remembers a scene normally stands in a certain relation to the scene in question, that of having perceived it in the past. The article's main thesis is that the subject of an experiential state implicitly self-ascribes the relevant relation to what the state represents. This implicit self-ascription (which is immune to error through misidentification) corresponds to the presence of the subject « as subject » in the content of his or her experience. (shrink)

In this article the extent to which stories and personal narratives can and should be used to inform education policy is examined. A range of studies describable as story or personal narrative is investigated. They include life-studies, life-writing, life history, narrative analysis, and the representation of lives. We use 'auto/biography' as a convenient way of grouping this range under one term. It points to the many and varied ways that accounts of self interrelate and intertwine with accounts of (...) others. That is, auto/biography illuminates the social context of individual lives. At the same time it allows room for unique, personal stories to be told. We do not explicitly discuss all the different forms of auto/biography. Rather, we investigate the epistemology underlying the personal story in the context of social action. We discuss the circumstances in which a story may validly be used by educational policy makers and give some examples of how they have done so in the past. (shrink)

Riassunto : Gli autori di autoritratti fotografici possono esprimere diversi aspetti della loro personalità. In particolare, i selfie enfatizzano difficoltà nella connessione cervello-corpo, una fantasia di auto creazione e il bisogno di rimuovere qualsiasi mediazione nella creazione di un’immagine personale. Il fine della pubblicazione di un selfie non nasce dal bisogno di una relazione reale, ma deriva dalla necessità di un’auto-conferma narcisistica. Il pensiero che si produce quando una persona scatta e condivide un selfie esclude la mentalizzazione e (...) non è orientato verso il mondo interno individuale, ma si concentra su un pensiero di auto-rispecchiamento della persona che lo posta. I selfie non rivelano solo livelli variabili di narcisismo dell’autore, a seconda delle tipologie di selfie, ma possono essere segni di alcuni tratti di personalità schizoide, dipendente, istrionica, evitante e anche in alcuni casi borderline. Parole chiave : Selfie; Narcisismo; Autorappresentazione; Rapporto corpo/mente; Social network; Comunicazione Selfie: Hidden Thoughts, Self-creation Fantasy, Personality Traits: Self-portrait photographs can express different aspects of the author’s personality. In particular, selfies magnify difficulties with the brain-body connection, self-creation fantasies and a felt need to remove any mediation involved in the creation of a personal image. The impulse to publish selfies does not stem from a need for real relationships, but rather serves narcissistic self-confirmation. When a person takes and shares a selfie, she avoids mentalisation and does not orient towards her internal world, but instead focuses on self-mirroring the posing person. Selfies not only reveal the variable shades of the author’s narcissism, depending on the typology of the selfie, but can also reveal signs of certain schizoid, dependent, histrionic, avoidant, and sometimes even borderline personality traits. Keywords: Selfies; Narcissism; Self-representation; Mind/Body Relationship; Social Network; Communication. (shrink)

L’intégration des technologies de l’information et de la communication (TIC) à l’apprentissage représente une avenue explorée à la fois par les milieux scientifique, institutionnel et scolaire afin de développer des environnements éducatifs stimulants pour les apprenants. Au Québec, L’École en réseau, un projet d’innovation technologique rassemblant 23 commissions scolaires et près d’une centaine d’écoles majoritairement de l’ordre primaire (6 à 12 ans), a mis entre autres en place le forum de coélaboration de connaissances (FCC) pour répondre à certains besoins émergents (...) de professionnels de l’éducation en matière d’avancées technopédagogiques ainsi qu’à ceux des apprenants baignant aujourd’hui dans la culture du numérique. Cette plateforme propose entre autres un espace de collaboration sous forme de discours écrit asynchrone dans lequel chaque élève collabore et construit sa compréhension d’un phénomène, d’un problème à résoudre ou d’un texte dans le cadre de multiples activités liées à différentes matières scolaires. Les participants – élèves, enseignants et conseillère pédagogique – sont amenés à écrire des textes, de longueur et de type divers, à les annoter, à les améliorer et à les enrichir à l’intérieur d’une base de connaissances qui conserve les traces de leurs échanges sous forme de toile interactive. Cet article traite du potentiel de documentation du FCC qui permet aux utilisateurs, soit les élèves, les enseignants, les conseillers pédagogiques, voire les chercheurs, de visualiser les activités, les progrès et les habitudes d’utilisation de chacun sous différents angles grâce à ses diverses fonctionnalités. Les traces laissées par la communication asynchrone facilitent en effet, selon Gikand, Morrow et Davis (2011), l’auto-évaluation de la compréhension qu’ont les élèves du contenu en plus de leur permettre le partage de questionnements ainsi qu’une réflexion sur leur contribution aux discussions sur le forum. Le potentiel relié à l’archivage de différentes données d’un forum, tel que défini par Heinrich, Milne et Moore (2009), permet l’analyse statistique et le profilage d’élèves afin de mieux répondre à leurs besoins en tant qu’apprenants. Aussi, l’analyse des interactions (posting behaviours) et suivis de fréquentation sur la plateforme (non-posting behaviours) peut amener les enseignants et les élèves à réfléchir sur leurs pratiques et diriger leurs interventions pédagogiques (Xie, 2013). Par ailleurs, la notion de transparence comme la définissent Lafuente Martínez et al. (2015), appliquée au FCC, est également présentée ici. Celle-ci comprend les échanges entre les élèves durant la réalisation de l’activité d’apprentissage et d’évaluation : les versions antérieures du travail tout au long de la réalisation de la tâche d’écriture et tout élément témoignant de leur processus réflexif (plans, notes, schémas, etc.). Cette mise en disponibilité du brouillon des textes des élèves représente une opportunité de documenter la progression des apprentissages de l’apprenant et d’exploiter le potentiel d’autorégulation de l’évaluation formative (Pachler, Daly, Mor, Mellar, 2010). Enfin, la possibilité de suivre l’évolution de la pensée critique de l’apprenant, à savoir si celui-ci, par ses interventions sur les textes des autres, propose des commentaires qui favorisent le dialogue et qui amènent des éléments de réflexion pour faire progresser les discussions (Olofsson, Lindberg, Stödberg, 2011) est mise en relief à l’aide des interventions des élèves, recueillies à même la plateforme. (shrink)

This paper considers negative triggers and the interpretation of simple sentences containing more than one occurrence of those items . In the most typical interpretations those sentences have more negative expressions than negations in their semantic representation. It is first shown that this compositionality problem remains in current approaches. A principled algorithm for deriving the representation of sentences with multiple negative quantifiers in a DRT framework is then introduced. The algorithm is under the control of an on-line check-in, (...) keeping the complexity of negation auto-embedding below a threshold of complexity. This mechanism is seen as a competence limitation imposing the ‘abrogation of compositionality’ observed in the so-called negative concord readings . A solution to the compositionality problem is thus proposed, which is based on a control on the processing input motivated by a limitation of the processing mechanism itself. (shrink)

Derrida's public struggle with the spectre of Artaud began in the 1960s ‘La parole Soufflée’ and ‘The Theatre of Cruelty and the Closure of Representation’ and continued forcener le subjectile and Artaud le Moma. The texts are read as attempts to break with the dominant critical/clinical readings of Artaud inaugurated by Jacques Rivière and as beginnings for a search to secure Artaud-immunity, protection for and against his words and works. It argues that Derrida's readings of Artaud systematically underestimate the (...) power of his deliberate perversion of Platonism and his intimations of an affirmative metaphysics issuing from the replacement of the idea of the One by that of Chaos. The underestimation of the affirmative drive underwriting Artaud's work led Derrida to uncover a suicidal motif in Artaud-immunity that would eventually compromise his own understanding of auto-immunity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.4 (2001) 343-346 [Access article in PDF] Kimura Bin on Schizophrenia James Phillips With "Cogito and I: A Bio-Logical Approach," Kimura has continued his research into the core disturbance in schizophrenia. In his work, he has combined an original phenomenological approach with some fundamental concepts taken from his native Japanese and Zen culture. As in the work of others in the tradition of phenomenological psychiatry, (...) he has focused on a basic disturbance that underlies the positive symptoms found in schizophrenic conditions. In what follows, I will attempt to relate this current effort to some of his previous work on schizophrenia. I will conclude this commentary with some remarks on what I find problematic in the treatment of Heidegger.In "Cogito and I," Kimura plunges us directly into the core ego disturbance of schizophrenic patients by quoting two patients who, each in his own words, describe a pathological split between what we may call a "subjective" and an "objective" I or self. The latter is the self that acts and is recognizable by others (and by the patient) as the agent acting in the world. The former, the subjective self, is the non-objectified sense of self or self-awareness that accompanies all our actions. The two must be integrated, and it is a failure of this integration that is at the basis of the schizophrenic's ego disturbance.We can gain further clarification of this central notion in Kimura's treatment of schizophrenia through reference to some of his other discussions of the topic. In "Reflection and Self in the Schizophrenic" (Kimura 1992b), he invokes Husserlian terminology to discuss the same polarity within the self. 1 In this study, he distinguishes "simultaneous reflection" (the subjective self) from "secondary reflection" (the objective self). In the latter, the self is a noematic object of reflection; it is the image of myself after the act, the I that has done something and can now be captured in reflection. While "Cogito and I" describes the schizophrenic split as between the noematic self and the noetic self of simultaneous reflection, "Reflection and Self in the Schizophrenic" locates the split further back within the noetic self. Kimura distinguishes in the noetic self an observing I from the I that is moving toward action, both prior to the noematic self of secondary reflection. "One could say that a subjective self here accompanies an other self no less subjective and observes it constantly 'from behind'. There is no objective, noematic self involved here; a sole noetic self splits into two simultaneous 'moments' which occupy alternitively the places of seeing and seen, and which nonetheless remain subjective-noetic" (Kimura 1992b, 118). Pélicier emphasizes this Husserlian analysis in his exposition of Kimura Bin's phenomenological treatment of schizophrenia: The Self is never grasped as an object, but rather experienced in a noetic mode. On the other hand, the representation (l'image), as an object of consciousness, and in a certain manner all representations (images), as objects of consciousness, are of the noematic [End Page 343] order in Husserl's sense. Kimura insists then on the difference between this auto-perception (jikaku) in the noetic register and its content, which, itself, is noematic. Starting from this analysis, Kimura poses to himself the question of the nature of schizophrenia.... (Pélicier 1984, 32) In still another treatment of the theme, "Pathology of the Immediate" (Kimura 1992c), Kimura Bin focuses on the role of language in the structure of the self. The circuit of simultaneous and secondary reflection described above is played out in the pre-linguistic and linguistic dimensions of the self. Simultaneous reflection is immediate and fugitive in a manner that escapes articulation but at the same time, very readily flows into a secondary reflection that exists only as a mediated, articulated, noematic self. As Kimura puts it, "As for the I, which seems apparently the most immediately given, this also, when it becomes conscious of itself as 'I,' is constituted equally as an experience mediated by a negative differentiation that inserts itself between the 'I' that is in the process of becoming... (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / (...) penetrates the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

We develop an analysis of the notion of mental representation, in the domain of visual perception, from a Cognitive Science perspective. Emphasis is given on a Connectionist view, according to which mental representations are emergent properties of the interaction between brain-like systems and structured light in the environment. We suggest that such a notion of mental representation indicates a way out of an ancient dispute between Representationalism and Eliminativism regarding the existence of mental representation in the human (...) perceptual system.We develop an analysis of the notion of mental representation, in the domain of visual perception, from a Cognitive Science perspective. Emphasis is given on a Connectionist view, according to which mental representations are emergent properties of the interaction between brain-like systems and structured light in the environment. We suggest that such a notion of mental representation indicates a way out of an ancient dispute between Representationalism and Eliminativism regarding the existence of mental representation in the human perceptual system.Investigaremos, a partir da perspectiva da Ciência Cognitiva, a noção de representação mental, no domínio da percepção visual humana. Ênfase é dada ao paradigma Conexionista, ou de Redes Neurais, de acordo com o qual tais representações mentais são descritas como estruturas emergentes da interação entre sistemas de processamento de informação que se auto-organizam - tais como o cérebro - e a luz estruturada no meio ambiente. Sugerimos que essa noção de representação mental indica uma solução para uma antiga polêmica, entre Representacionalistas e Eliminativistas, acerca da existência de representações mentais no sistema perceptual humano. (shrink)

This essay is a postcolonial reading of the recently republished auto/biography A Lion Called Christian , written by two Australians, Anthony Bourke and John Rendall. The book narrates the unlikely story of raising a lion in Chelsea and discusses his eventual repatriation and new life in East Africa. The essay argues that the representation of the animal in the metropolitan and African spaces as portrayed in the book can be read critically in the context of the cultural legacy (...) of British colonialism and the role of exotic animals in particular. The essay shows that the function of the animal in the book is to problematize the naturalized division of space into human and animal spaces. As a result, the book deconstructs colonialist and anthropocentric hierarchies in modern society by revealing moments of hybridity when the values of colonial discourse are open to disruption and critique. (shrink)

Chez Hegel le spéculatif consiste à la proportion absolue, comme le logos, qui est autoréférentiel dans le différent. Il s’agit de l’auto manifestation du logos, qui est en même temps une seule et même chose avec sa détermination infinie. Ainsi, l’évidence de la certitude absolue qui en résulte est sa propre connaissance en tant qu’infini, dans lequel elle produit l’affirmatif du contenu de l’activité absolue elle-même-dans-ses-moments-de-représentation. De cette façon, le concept hégélien du spéculatif correspond à un être-en-relation total, qui (...) est d’abord immédiateté, puis spécification de l’immédiateté par la connexion à sa propre activité d’idée et, enfin, auto-appropriation du rapport-à-soi, c’est-à-dire connaissance qui sert d’intermédiaire à soi-même, en tant que méthode réelle d’être-en-soi et d’être-pour soi. Theôria est alors un point de vue logique par lequel peut être conçu le retour du logos à son être-en-soi, mais c’est en même temps la manifestation de cet être-en-soi. Cependant, dans l’essence du logos apparaît la substance, c’est-à-dire l’appropriation de-soi, la présence dans-le-domaine-propre du logos. (shrink)