The enemy must fear us. When this is over, there will be much more fear in the world. […] Give the government an ultimatum. Say, “This was just the trailer. Just wait till you see the rest of the film.”The overhanging statement – which draws attention to troubling links interconnecting action cinema and acts of terrorism – is delivered towards the end of Dan Reed’s Terror in Mumbai, an insightful documentary that unfolds a balanced enquiry into the November 2008 massacre (...) by the South Asian terrorist organization Lashkar-e-Tayyaba. The film weaves hours of phone intercepts between a Pakistani handler and Lashkar-e-Tayyaba agents into a collage of recovered CCTV footage, live... (shrink)

Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers (...) to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a “third synthesis” of time, and that which J. M. E. McTaggart named the a-temporal “C series” of “unreal” time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have... (shrink)

This essay examines Gaspar Noë's film, Enter the Void, in light of the work of both Gilles Deleuze and Alain Badiou. Arguing that the film shows to viewers the 'void' that separates subjects from objects, the essay also considers Noë's film in the light of drug literature and the altered states induced by cinema and describe by Anna Powell. Finally, the essay proposes that Enter the Void is a work of 'unbecoming' cinema, which in turn points to expansion of cinematic (...) form through the use of digital technologies. (shrink)

Taking a schizoanalytic approach to audio-visual images, this article explores some of the radical potentia for deterritorialisation found within David Fincher's Fight Club (1999). The film's potential for deterritorialisation is initially located in an exploration of the film's form and content, which appear designed to interrogate and transcend a series of false binaries between mind and body, inside and outside, male and female. Paying attention to the construction of photorealistic digital spaces and composited images, we examine the actual (and (...) possible) ways viewers relate to the film, both during and after screenings. Recognising the film as an affective force performing within our world, we also investigate some of the real-world effects the film catalysed. Finally, we propose that schizoanalysis, when applied to a Hollywood film, suggests that Deleuze underestimated the deterritorialising potential of contemporary, special effects-driven cinema. If schizoanalysis has thus been reterritorialised by mainstream products, we argue that new, ‘post-Deleuzian’ lines of flight are required to disrupt this ‘de-re-territorialisation’. (shrink)

In this article I explore the pedagogical value of Gilles Deleuze and Félix Guattari’s philosophical concepts for helping make an ‘event’ of thought, with a view towards fostering deep learning in Chinese students' learning theory and criticism in a second language. Paying attention to the qualitative role of bodies, humour and creativity alongside an expanded trans-personal concept of ‘educational life forms’ that stretches out to include an affective assemblage of inhuman elements (such as art and technology), I explore how Deleuze (...) and Guattari’s philosophical models provide a ethical alternative to corporate, Confucian and Cartesian models otherwise inhibiting students and teachers in the modern Sino-international university context. (shrink)

In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of Kentridge's films (...) at once illuminate a regime of animated 'movement-images' that can trace their aetiological roots to classical forms of film and animation, whilst concurrently folding in complex philosophical expressions of time as duration which invoke the crystalline 'time-image' concepts of philosophers such as Bergson and Deleuze, as well as literary authors like Marcel Proust. Over and above these co-existent regimes of movement and time, Kentridge's artistic technique and exhibition practices further expose a multifarious 'geology' of other embedded time lines that serve to enrich/complicate these temporal expressions. I argue here that diegetic time- and movement-images ostensibly co-exist alongside different 'archaeologies' of time relevant to the context and creation of the artworks. For this reason, the animated drawings formulate intriguing artistic/philosophical expressions that muse on the nature of matter, memory, time and space. (shrink)

By creatively expanding Deleuze's concept of the time-image crystal, I productively fold together and engineer an encounter between two comparable cinematic movements otherwise separated by huge vistas of time and space. Here, I work to plicate the post-war Italian neorealist movement which Deleuze saw inaugurating the modern cinema, with a ‘postsocialist’ mainland Chinese movement that I playfully call ‘neo-realism’. The films of both historical moments formulate comparable break-away cinemas which are often considered moral or socially responsible art cinemas best approached (...) through André Bazin's ‘ontological’ film philosophy lens. By using Deleuze, however, I hope to move beyond these realist discussions to explore how both movements are also fruitfully thought in terms of introducing distinct yet analogous mental relations into the image during historical junctures defined by radically transforming psycho-geographies. Like Deleuze's discussions of neorealism, neo-realism is considered a loose impulse or mode that collectively bears witness to confusing and bewildering mental experiences from within a turbulent period of cultural, ideological and historical upheaval: which demands new ways of perceiving, thinking and acting. Without wanting to fall into a problematic auteur paradigm, I necessarily employ the films of Wang Xiaoshuai as emblematic examples of the wider impulse or trend. Indeed, Wang's films perfectly reify a new ethico-aesthetic form of Chinese cinema marked by a proliferation of new spaces, characters, experiences and narrative structures. Here, I also strive to do what Deleuze did not in his writing upon film, and explore the break-ups, breakdowns and breakthroughs in specific relation to a complex contextual web of political and cinematic ecosystems. Throughout this process I try to put Deleuze to work by using the films and context to re-interrogate and re-evaluate the time-image models as they appear within and across his Cinema books. (shrink)

This article adopts an ecological view of cognition to analyze the role of the environment in scaffolding metaphorical experience. Using ethnographic material collected from two real estate showrooms in China, we describe how each showroom setting is equipped with to-be-phenomenologically-experienced objects designed to stimulate desirable sensorimotor experiences and altered bodily states during the guided showroom tours. By analyzing the qualities of such settings and identifying the processes through which visitors become environmentally coupled—including active and passive touch in highly organized auditory, (...) olfactory, and gustatory environs—we demonstrate how the showrooms constitute an affordance space for enacting metaphoricity through doubleness in experience. Implications for conceptual metaphor theory relating to the nature of environments and bodies are discussed. (shrink)

This is the first sustained, whole-Bible treatment on the theme of meeting God face to face. Starting with Genesis and ending with Revelation, the author systematically covers the major events in salvation history, all of which reveal the beauty of encountering God's grace in abundance.

Naive mereology studies ordinary, common-sense beliefs about part and whole. Some of the speculations in this article on naive mereology do not bear directly on Peter van Inwagen's "Material Beings". The other topics, (1) and (2), both do. (1) Here is an example of Peter Unger's "Problem of the Many". How can a table be a collection of atoms when many collections of atoms have equally strong claims to be that table? Van Inwagen invokes fuzzy sets to solve this problem. (...) I claim that an alternative treatment of vagueness, supervaluations over many-value valuations, provides a better solution. (2) The Special Composition Question asks how parts compose a whole. One who rejects van Inwagen's answer in terms of constituting a life need not provide some alternative answer. Even if all answers to the Special Question fail, there are a multitude of less general composition questions that are not so difficult. (shrink)

Many philosophic arguments concerned with infinite series depend on the mutual inconsistency of statements of the following five forms: (1) something exists which has R to something; (2) R is asymmetric; (3) R is transitive; (4) for any x which has R to something, there is something which has R to x; (5) only finitely many things are related by R. Such arguments are suspect if the two-place relation R in question involves any conceptual vagueness or inexactness. Traditional sorites arguments (...) show that a statement of form (4) can fail to be true even though it has no clear counter-example. Conceptual vagueness allows a finite series not to have any definite first member. I consider the speculative possibilities that there have been only finitely many non-overlapping hours although there has been no first hour and that space and time are only finitely divisible even though there are no smallest spatial or temporal intervals. (shrink)

Two fusions can be in the same place at the same time. So long as a house made of Tinkertoys is intact, the fusion of all its Tinkertoys parts coincides with the fusion of it walls and its roof. If none of the Tinkertoys is destroyed, their fusion persists through the complete disassembly of the house. (So the house is not a fusion of its Tinkertoy parts.) The fusion of the walls and roof does not persist through the complete disassembly (...) because the walls and the roof themselves do not persist. (So the walls and the roof are also not fusions of their Tinkertoy parts.). (shrink)

The primary objects of hearing are sounds: everything we hear we hear by hearing a sound. (This claim differs from Berkeley’s that we hear only sounds and from Aristotle’s that we only hear sounds.) Colored regions are primary objects of sight, and pressure resistant regions are primary objects of perception by touch. By definition, the primary objects of perception are physical. The properties of the primary objects of perception are exactly the properties sense-datum theories attribute to sense-data. Indirect Realism holds (...) that awareness of sense-data (or something similar) mediates our perception of primary objects. Direct Realism denies this. The question when the perception of a primary object, such as parts of the surfaces of a hat and coat, is thereby the perception of a non-primary object, such as a person, is independent of the disagreement between Direct and Indirect Realism. (shrink)

When there have been substantial failures by institutional leadership in their oversight responsibility to protect research integrity, the public should demand that these be recognized and addressed by the institution itself, or the funding bodies. This commentary discusses a case of research failures in developing genomic predictors for cancer risk assessment and treatment at a leading university. In its review of this case, the Office of Research Integrity, an agency within the US Department of Health and Human Services, focused their (...) report entirely on one individual faculty member and made no comment on the institution’s responsibility and its failure to provide adequate oversight and investigation. These actions missed an important opportunity to emphasize the institution’s critical responsibilities in oversight of research integrity and the importance of institutional transparency and accountability. (shrink)

Examples of sensory illusion show the failure of the attempt of traditional sense-datum theory to account for something's phenomenally appearing to be F by postulating the existence of a sense-datum that is actually F. the Muller-Lyer Illusion cannot be explained by postulating two sensibly presented lines that actually have the lengths the physical lines appear to have. Illusions due to color contrast cannot be explained by postulating sense-data that actually have the colors the physical samples appear to have.

At least since Descartes, philosophers have been interested in the special knowledge or authority that we exhibit when we speak about our own thoughts, attitudes, and feelings. This book contends that even the best work in contemporary philosophy of mind fails to account for this sort of knowledge or authority because it does not pay the right sort of attention to the notion of expression. What's at stake is not only how to understand self-knowledge and first-person authority, but also what (...) it is that distinguishes conscious from unconscious psychological states, what the mental life of a nonlinguistic animal has in common with our sort of mental life, and how to think about Wittgenstein's legacy to the philosophy of mind. (shrink)

This new edition includes three new chapters, updating the book to take into account developments in the field over the past fifteen years.

A primary purpose of argument is to increase the degree of reasonable confidence that one has in the truth of the conclusion. A question begging argument fails this purpose because it violates what W. E. Johnson called an epistemic condition of inference. Although an argument of the sort characterized by Robert Hoffman in his response (Analysis 32.2, Dec 71) to Richard Robinson (Analysis 31.4, March 71) begs the question in all circumstances, we usually understand the charge that an argument is (...) question begging with reference to the beliefs of the person, or the sort of person, to whom the argument is directed. (shrink)

Self-consciousness and the self -- Diachronic unity, diachronic singularity, and the subject of consciousness -- A modal argument for immateriality -- Intelligibility concerns and causal objections -- Concluding remarks.

Everything red is colored, and all squares are polygons. A square is distinguished from other polygons by being four-sided, equilateral, and equiangular. What distinguishes red things from other colored things? This has been understood as a conceptual rather than scientific question. Theories of wavelengths and reflectance and sensory processing are not considered. Given just our ordinary understanding of color, it seems that what differentiates red from other colors is only redness itself. The Cambridge logician W. E. Johnson introduced the terms (...) determinate and determinable to apply to examples such as red and colored. Chapter XI, of Johnson's Logic, Part I (1921), “The Determinate and the Determinable,” is the main text for discussion of this distinction. (shrink)

In this collection of provocative essays, historians and literary theorists assess the influence of Michel Foucault, particularly his History of Sexuality, on the study of classics. Foucault's famous work presents a bold theory of sexuality for both ancient and modern times, and yet until now it has remained under-explored and insufficiently analyzed. By bringing together the historical knowledge, philological skills, and theoretical perspectives of a wide range of scholars, this collection enables the reader to explore Foucault's model of Greek culture (...) and see how well his interpretation accounts for the full range of evidence from Greece and Rome. Not only do the essays bring to light the assumptions, ideas, and practices that constituted the intimate lives of men and women in the ancient Mediterranean world, but they also demonstrate the importance of the History of Sexuality for fields as diverse as Greco-Roman antiquity, women's history, cultural studies, philosophy, and modern sexuality. The essays include "Situating The History of Sexuality" (the editors), "Taking the Sex Out of Sexuality: Foucault's Failed History" (Joel Black), "Incipit Philosophia" (Alain Vizier), "The Subject in Antiquity after Foucault" (Page duBois), "This Myth Which Is Not One: Construction of Discourse in Plato's Symposium" (Jeffrey S. Carnes), "Foucault's History of Sexuality: A Useful Theory for Women?" (Amy Richlin), "Catullan Consciousness, the 'Care of the Self,' and the Force of the Negative in History" (Paul Allen Miller), "Reversals of Platonic Love in Petronius' Satyricon" (Daniel B. McGlathery), and an essay from Dislocating Masculinity (Lin Foxhall). (shrink)

Although Aranyosi's claim that McTaggart's "set of parts" is a set rather than a fusion is correct, his attempt to restate McTaggart's conception needs revision. Aranyosi argues that "the fusion of cats is identical with the fusion of all cat-parts, 'regardless of whether all cat-parts are parts of cats or not.'" Fusions have unique decompositions into what David Lewis calls "nice parts." Cats are nice parts of cat fusions, as are maximal spatio-temporally connected parts. Part of Aranyosi's argument fails (...) when it deals with cats; part of it fails when it deals with maximal spatio-temporally connected parts. He does not identify one kind of nice part that allows his whole argument to go through. (shrink)

A statement q is a conclusion intermediate between p and h if and only if (1) p justifies h, (2) p justifies q, and (3) (p and not-q) justifies h to a significantly lesser degree than p justifies h. I contend that Gettier-type counterexamples to definitions of factual knowledge violate the following principle: if one knows that h on the basis of p, then all the conclusions intermediate between p and h are true. This principle does not refer to anyone's (...) beliefs that intermediate conclusions are true. I test my contention against several examples which have been discussed in the literature. (shrink)