This article contends that we can learn much about how Coetzee tells stories by examining how he treats the subject of disgust. Coetzee represents disgust so often in his fiction, I argue, because disgust figures the subject’s relation to the object as both embodied and contemplative. Staging scenes of disgust enables Coetzee to do two apparently contradictory things at once: (1) represent the immediacy of a focalizing character’s physical reaction to the world and (2) establish a reflective distance between the (...) focalizing character and object that encourages both character and reader to contemplate the ignoble aspect of human mortality. (shrink)

Our concept of politics – especially democracy – presupposes a principle of friendship, but our principle of friendship comes out of an understanding of the friend. However, from the Greeks to Derrida, such relations have been dominated by a philosophy of presence and/or absence, limiting our very idea of politics and friendship. A radical break with this tradition is only possible through an other way of speaking to, thinking about, acting toward, and being a friend, and the politics thereof. The (...) Aristotelian saying, “O friends, [there is] no friend,” provides a clue – for “being” is not there, not present in the Greek, nor absent therefrom, but just implied. Then the being of the friend, and of politics (and of being), is an implication. So, if we hope to be friends, and to be political, we must think and act and speak by implication: O friends no friend, and O democrats no democracy. (shrink)

This paper proposes a theory of text on-screen as “unvoiceover.” It addresses both the case for captioning as social good and the affordances (aesthetic, affective) of writing in or over the moving image. Advancing an argument informed by perspectives from d/deaf Studies, Critical Disability Studies and Digital Interface Studies, and applying modes of analysis from literary criticism alongside those proper to the study of moving image and sound, it examines the idiosyncrasies of text-in-motion as non-sonorous, fugitive counterpart to the traditional, (...) troublesome “voiceover.” To develop a poetics of the unsounding voice on-screen, the paper focalizes its argument through multimedia artist Liza Sylvestre’s Captioned series: a body of moving image work that is itself, paradoxically, uncaptioned. Framing Sylvestre’s lyrical “unvoiceover” as a reimagining of the lost roles of film explainers and literary intertitles, I argue that the artist’s takeover of the caption track intervenes critically in contemporary debates about the ethics of audio-visual translation, situated description and access as public ethos rather than private concern. Posing the artist’s personal-and-political writing as suggestive of a lower-case analogue to Deaf Gain, I show how Sylvestre’s “unvoiceover” educates its “receivers” in the purpose and functioning of captions. By reading Sylvestre’s writing on-screen more closely than its fugitive form seems to invite, I show how the unvoiceover encultures its own demands on its readers and elicits its own habits of reading. By scrutinizing how Sylvestre’s series makes the case for captioning, this paper makes the case for a new appraisal of the aesthetic, affective and political affordances of the unvoiceover as writing on the run. (shrink)

This article offers a reconstruction of Derrida’s critique of Leibniz. It suggests that in attempting to fit Leibniz into his conception of the history of metaphysics and the all-embracing notion of logocentrism that underwrites it, Derrida presupposes two regimes of logocentrism: one subjective, the other theological. Subsumed into this second mode, Derrida casts Leibniz as a progenitor of structuralism and the new sciences and technologies of information in order to expose their logocentric foundations. However, in doing so, he ends up (...) sidelining the aspect of Leibniz’s ideas that anticipates the specificity of the new epoch of writing he claims to historicise. The article goes on to argue that to grasp this specificity one must look beyond the “expressivist” schema of exterior representation, which Derrida draws from Husserl’s theory of meaning, and instead look to Leibniz’s own formal-combinatorial concept of expression, which exceeds Derrida’s critical framework. (shrink)

Welcome to Angelaki’s General Issue II 2023. Submissions for our general issues are accepted year-round.Angelaki is an internationally renowned journal and one of the most read of Routledge, Taylor...

In “The Brokenness of Being,” Mari Ruti investigates the impact that trauma can have on being. Informed by her own experience of breast cancer, Ruti argues that there are some traumatic experiences that entirely change one’s symbolic coordinates. She calls these types of experiences benchmark traumas. Diagnosed with terminal cancer, Ruti boldly explores how encountering a benchmark trauma forced her to recognize the brokenness of her being. She theorizes that this recognition reveals the split in the subject. Encountering this brokenness, (...) as she calls it, at the heart of being can be completely debilitating. However, Ruti argues, there is a way to engage rather than repress this impossible reality. She theorizes that creativity is the one human expression that can grapple authentically with the split in the subject. To explore this idea, she collaborates with painter Dwight Smith. Smith’s twenty-two paintings respond to the benchmark trauma of the death of his twenty-two-year-old daughter. The twenty-two paintings are positioned throughout the manuscript and are in conversation with Ruti’s theory. Ruti is fascinated by both the paintings and Smith’s process, which is similar to her own. For Ruti and Smith, their creativity is how existential engagement takes shape. (shrink)

This paper discusses Hannah Arendt’s model of the Jewish pariah, developed in her study of Jewish assimilation. The argument is that Arendt’s model represents her early efforts to move beyond Martin Heidegger’s philosophy. The paper focuses on Arendt’s concept of a conscious pariah as a model for political resistance, independence, and agency. It shows how Arendt infused elements of Heidegger’s philosophy into her early vision of Jewish politics, while also transcending the limits of Heidegger’s ontological project with her political vision. (...) The paper suggests that Arendt’s book on Rahel Varnhagen shares similarities with Heidegger’s work on Mitsein in Being and Time, while her 1944 model of the conscious pariah, especially the focus on the pariah as a rebel, illustrates her concerns with Heidegger’s work on the Volk. (shrink)

This paper hypothesises that museums are fundamentally haunted, and hauntological, institutions, and argues that understanding the spectre is necessary to understanding the true position and potential of the museum as a cultural form. In doing so, the paper will address what precisely spectres are, and what hauntology is, before discussing how museums are haunted and hauntological through their relation to memory, anxiety, and the unheimliche. Ultimately, the key argument and conclusion of this paper is that understanding and accepting the museum’s (...) inherently haunted status can enable us to change how museums behave in the twenty-first century, and how we understand their role in public life. (shrink)

In this article, the authors introduce the concept of a “queer counter-mythology.” They do so by discussing a speculative song they wrote as an enactment of research-creation. Research-creation names an interdisciplinary scholarly praxis where artist-scholars create the artefacts they want to think-with, rather than analysing existing cultural productions. The song discussed in this article, “Cosmic Beavers,” proposes a queer counter-mythology that reimagines the historical, colonial archive by foregrounding the stories of giant, trans-dimensional beavers who shred Lewis and Clark and use (...) them to reinforce their Time-Dam. Drawing on this song, as well as queer theories of time and anti-colonial thinkers, the authors suggest that artistic interventions invoke speculative lures that, while not changing history, can complicate state-sanctioned archives and narratives of the past and future: they frame this intervention as a queer counter-mythology. (shrink)

[R]eflection is a system of thought no less closed than insanity, with this difference that it understands itself and the madman too, whereas the madman does not understand it.– Merleau-Ponty, Phen...

What are the prospects for critique in an age of collapse? Collapsing ecosystems, “democratic decay,” vicious “culture wars,” and changing knowledge economies all impact the conditions of possibility for academic critique. Universities have become bastions of “academic neoliberalism,” driven by managerialism, rankings, and punishing overwork. Terms such as “postcritique” capture the possibility that critique has literally “run out of steam,” as Bruno Latour famously put it. This article takes the form of a staged call to arms to address some of (...) these issues. First, it sets out to name the combination of economic and cultural forces that constitute “academic neoliberalism,” and to propose a constructive strategy against them. Second, it critiques debates about “postcritique.” Third, it argues that academic neoliberalism can be resisted and that this is now primary business for the sciences, humanities, and social sciences. The article closes by proposing new scholarly practices based in “constitutive criticism,” explicitly oriented towards the retrograde politics of the present. (shrink)

In this paper we outline a theory that explicates the hypertrophy of the “political” in relation to contemporary art, literature, and culture. Beginning with a critique of Nicholas Bourriaud’s 2016 work The Exform, we interrogate Bourriaud’s engagement with contemporary art and Louis Althusser’s theory of ideology. We approach Bourriaud’s Althusserian source material through a consideration of its reappraisal by Warren Montag, Althusser’s own Lacanian influences, and through some surprising continuities with the thought of controversial German jurist and political theorist Carl (...) Schmitt. Finally, we attempt to synthesize these discussions into our speculative theory of the “Ideological Aesthetic,” which addresses a conceptual gap in past theoretical discourse on ideology. (shrink)

Nicolas Abraham (1919–75) rethinks the symbol as the very fabric of being. The author examines how this notion challenges the limitations of Husserl’s phenomenology and its reliance on a transcendental ego that can apprehend hyletic data in its purity. For Abraham, the symbol is worldly and resonates with its emergence from intersubjective foundations to constitute subjectivity impurely as a Dyad. It is born from trauma, a cut that differentiates Ego from Other but also generates anxiety (and Time) to keep its (...) operation unfinished. This projection into the future implicates intention (agency) that builds upon origins that are opaque and immemorial. Abraham denotes this origin as the Arche, conceiving of it as a primary symbolism that renders the traumatic cut but without temporal or structural guarantee. It is a beginning that is beyond the phenomenal, requiring exploration through a radical transphenomenological perspective derived from psychoanalysis. Here, trauma is both the debilitation of the symbol and (potentially) the impetus for its transformation, (re)iterating structures of subjectivity that have greater complexity and degrees of freedom. This is, of course, as circumstances allow. Abraham’s construction of symbolic subjectivity is stratified as the symbol negotiates levels of existence from basic Ego-integration to sophisticated social organizations, none of which can individually capture its operation. The journey to a fulfilling existence is riddled with obstructions that could be physiological, relational, cultural or otherwise. The author highlights this multivalence as a complexity that must be carefully navigated – especially when there is suffering – by attending to the symbol and its resonances where creative transformations cannot be mapped in advance. (shrink)

How does one give voice to the unspeakable, inhuman violence that shapes the present, and what remains of humanity in its wake? Adriana Cavarero offers an answer that roots human speech in embodied vulnerability, in contrast to philosophical emphases on disembodied rationality. In the face of what she calls horrorism, which puts humans in proximity to animality, she calls for resuscitating vocality, and therefore humanity, from loss. This article reads Kafka’s short story “A Report to an Academy” – which structurally (...) resembles a slave narrative and concerns a kidnapped ape who learns to speak – to extend Cavarero’s emphasis on vulnerability while challenging her humanism. In Kafka, modern horror’s locus is not animality but the abstract human, and it projects the unstable distinction between voice and noise onto blackened humans and nonhuman animals. (shrink)

In this article, using the example of koalas in the 2019–20 bushfires, I argue that our embodied encounters with animals are conditioned by an ethical address that can be found in and outside of language, which demands a fostering of life which must be environmental as well as physical. I posit that animals do have a face in the sense that Levinas has given us, and that our ethical responses should move beyond a narrowly defined mourning into a broader acknowledgment (...) of the manifold ways that human economies are fuelling the sixth mass extinction of all kinds of animals, not just koalas. (shrink)

Welcome to Angelaki’s General Issue I 2023. Submissions for our general issues are accepted year-round.Angelaki is an internationally renowned journal and one of the most read of Routledge, Taylor...

While considerations of gender predominate in scholarly accounts of why and how people derive pleasure from videogame play, the question of sex remains either undertheorized or conspicuously absent from the conversation. Drawing on Jacques Lacan’s formulae of sexuation, this article argues that the jouissance (enjoyment) of videogame play is sexed rather than gendered. It theorizes two logics of enjoyment in videogame play: enjoyment with exception and enjoyment without exception. Through an analysis of the videogame Inside, it argues that the logic (...) of enjoying without exception undergirds the libidinal satisfaction of all videogame play. To accept that the enjoyment of videogame play is predicated on such a logic, however, means to accept the ontological failure of the sexual relation. Videogame culture is subsequently founded on a disavowal of the logic of enjoying without exception and a pathological identification with the logic of enjoying with exception. (shrink)

This essay is a rewriting of Walter Benjamin’s “The Work of Art in the Age of Its Technological Reproducibility,” a classic text in critical theory and media studies. Appropriating Benjamin’s sentence, paragraph, and essay structures, the essay presents a series of theoretical reflections on the status of art during the current age of transmedia production. The essay seeks to contribute to a theory of contemporary art that moves beyond capitalist, and increasingly fascist, ideologies. As in Benjamin’s essay, this work is (...) an effort to think dialectically about the contradictions that structure our contemporary moment, and therefore to formulate a socialist aesthetics. (shrink)

Literary trauma theory has traditionally been a humanist concern, and the concept of witnessing, so central to the theorization of trauma, has focused on human experience and relationships. This article stages an interdisciplinary intervention by conceptualizing trans-“species” trauma testimony as a literary encounter involving a double-layered witnessing; the human artist witnessing nonhuman animals’ witnessing to the failings and crises brought about by human society. Focusing on a selection of contemporary Australian poems, a view emerges of poetic witnessing and testimony that (...) exceeds and complicates the sub-genre lenses of old such as “nature poetry,” “ecopoetry,” and “protest poetry.” I propose a new conceptual category that testifies to traumatic structures and consequences of human practices. I explore how this testimony proceeds through a two-way channel of witnessing in which nonhuman animals are active witnessing agents and not merely witnessed by humans. I concentrate on witnessing as primarily experiential, as a corporal, affective operation in which the senses figure centrally. I argue that when poets witness nonhuman animal experience in poetry, testimony advances as an ethical engagement in an act of solidarity and advocacy. Poetry offers productive potential in this respect due to its affinity for engagement with the senses, its capacity to communicate heightened affect, and its scope for expression, articulation, and evocations of meaning outside of conventional sense-making and the limits of rational understanding. (shrink)

In response to climate change and collapse, this essay explores both the necessity of and impossibility to witness disasters that are unending and unrelenting. Such disaster is understood generally as the Anthropocene but, for the purpose of this project, includes a more particular inflection, Late Humanity. This inflection is an attempt to hone in on a confluence of critical discussions found in environmental, economic, cultural, and biological disciplines to better attend to dynamics wherein modes of existence are in flux. In (...) response to this era, the essay proposes that witnesses are positioned as both observer and creator and, as such, turns to aesthetics as a way to understand those dual practices. Building on the aesthetic philosophy of Étienne Souriau, the essay considers witnessing as a multi-modal and multi-temporal practice through what Souriau calls instauration (the process of rendering the work-to-be-made). To demonstrate this practice, the project pursues a sleuth of bears (spotlighting the bears of astral mythology, disaster tourism, animal-cam live streams, interactive documentary, monstrous fiction, and, finally, a fantastical take on micro-organisms) to craft an aesthetic for witnessing amidst climate collapse that establishes realities through a process characterized as both conditional and conditioning. (shrink)

Contemporary art is increasingly reverting to notions of the index to image the slow changes and catastrophic destructions caused by climate breakdown. Looking at Gideon Mendel’s photo series Watermarks (since 2011), Tomonari Nishikawa’s short film sound of a million insects, light of a thousand stars (2014), and Santiago Sierra’s installation 52 Canvases Exposed to Mexico City’s Air (2019), the essay analyzes three positions that employ analog techniques of direct exposure to the elements and to toxicity. They use the index to (...) create artworks that function as collaborative testimonies of human and non-human witnessing work, prompting a re-reading of Rosalind Krauss’ two-part essay “Notes on the Index” (1977) for the present. Central to such a re-reading is the form the testimonies take on. I describe them as indexical abstractions, seeing in them images that are materially connected to the world yet expressing that involvement in non-mimetic ways. The works cite the idiom of abstract art not only to show that modernism has put the planet into distress but to also find a pictorial code operating beyond the confines of linear perspective. By doing so, they give expression to what Timothy Morton has called the hyperobject of climate change, creating pictures that combine image and imagination, thereby asking viewers to approach them – and the world they index – with care. (shrink)

The depiction of stones that speak has long been used as a literary and philosophical device to reflect upon the limitations of human language (i.e., language as a petrification of thought and action). Jacques Rancière has described stone’s capacity to bear witness as a form of “mute speech,” noting how “any stone can also be language,” as a part of the “testimony that mute things bear to mankind’s activity.” In exploring the character of this form of testimony, and asking how (...) we hear it, this article examines the function of the Stone Guest in the legend of Don Juan, across Molière’s and Pushkin’s theatrical versions, a short film version by Marina Fomenko, and Mozart and Da Ponte’s operatic version, so revered by Kierkegaard and others. The character of the Stone Guest is often seen as casting judgement against the aesthetic mode of life, yet the power of the character lies not in his ghostly humanity or sense of retribution, but in his stoniness – his capacity to bear witness, just as a stone monument bears witness or commemorates a past trauma. In a number of versions of the Don Juan story, the Stone Guest is announced by approaching footsteps or knocking. This acousmatic device mirrors the uncanny separation of sound and source in opera – the way in which music mediates between the conflicting imperatives of language and the corporeal or material aspects of the singing voice, lending opera its vaunted mechanical qualities. Using stones that speak as a heuristic, the article draws together ideas about the limitations of language and the mechanical qualities of opera in order to excavate the auditory affordances of the stone’s form of testimony, in all its inorganic liveliness. (shrink)

Testimony and witnessing require sentiency, not humanity. Sentiency is distinguished here as the capacity to experience energetic coalescing between elements/entities/presences and to derive a response from such encounters. Taking as its focal point the kincentric ecology and lifeworld of Yanyuwa Country in the south-west Gulf of Carpentaria, northern Australia, this paper strives to expand the conceptual roots for a discussion of testimony and witnessing through the principle of “unflattening.” Unflattening is a commitment of orientation, one that counteracts the type of (...) narrow, rigid thinking that is flatness, a condition in which humans are often unable to see past the boundaries of current frames of mind, the limits of our existence, our ontology, epistemic and moral habit (Sousanis, Unflattening (Harvard UP, 2015)). In a settler colonial context such as Australia, these are conditions which reflect a dominant epistemic tradition of the West, which relies upon certain ontological habits, reflective of a capitalist, modern, neo-liberal and individualistic tendency. But this is not the only Law and way of knowing that exists across the great landmass of Australia, mapped as it is by the languages and Laws of diverse Indigenous language groups. In Yanyuwa Country, communication between multifarious agents is common, ranging from those between humans, deceased kin who reside as “old people” in Country, Ancestral Beings which have become the embodiment of Country, non-human animals, elements, objects and places. Each and all are capable of communicating; be it as expressions of recognition of one another, revelation of emotional states, health or disorder, responsivity to the presence of others, Law and local empiricism. Drawing on my ethnographic encounters with Yanyuwa families, I aim, throughout this paper, to unflatten on three fronts: first, expand the relational scope of potential communicative pathways to take in sentient presence as a catalyst for relationality (carried forth by responsiveness to and between presences), second, examine the multidimensional nature of testimony and third, expand our vision of the enactment of witnessing – to consider who, what and when. I consider Indigenous, specifically Yanyuwa, relational ontologies as they bond and unify the human and non-human across a field of sentiency and communicative intention, shifting the focus or primal orientation to either side of and all around the human. (shrink)

In the Anglo-American cultural sphere, the growing awareness of global warming and ecocide has coincided with the proliferation of a much discussed, post-apocalyptic imaginary that transports us to uninhabitable planetary futures. These “fictions,” as E. Ann Kaplan notes in a discussion of their mobilising potential, act as “memories for the future” which make us “identify with future selves struggling to survive.” This article turns to Günther Anders’s notion of “apocalypse-blindness” (1956) and Cormac McCarthy’s The Road to set out an alternative (...) way of understanding the powerfully sentimental force such images of doom convey. While seemingly turning our gaze to the future and onto the devastating impact of consumerist lifestyles, I argue that this doom-ridden imaginary also entails a sentimentalisation of our own “inability to feel” and be sufficiently affected by the reality we know ourselves to be contributing to. As such, it bears witness to the trauma of “not being able to adequately feel” what one already knows. By revisiting The Road, a text that occupies a central role in discussions of the potentials and cathartic pitfalls of post-apocalyptic fiction, I suggest that its political potential lies in this confrontation with the limits of feeling. And the politics it opens onto does not hinge on images on ruin, but on a yearning for a socially sanctioned right to feel and express the fear representations only seem able to convey in an inadequate, anaesthetic manner. (shrink)

This article considers what it means to give plants a voice as witnesses to nuclear events. It examines two texts that attempt to represent the nonverbal testimony of irradiated plants through a hybrid approach of text and image: Sugihara Rieko’s Pilgrimage to the A-Bombed Trees (Hibakuju junrei, 2015) and Michael Marder and Anaïs Tondeur’s The Chernobyl Herbarium: Fragments of an Exploded Consciousness (2016). Published a year apart, both texts focus on the afterlife of nuclear catastrophes: the atomic bombing of Hiroshima (...) in 1945 and the Chernobyl nuclear disaster in 1986. Sugihara’s book is an account of the hibakujumoku – trees that survived the atomic bombing of Hiroshima and continue to produce new growth to this day. Combining maps, photographs, interviews, and short essays, Pilgrimage to the A-Bombed Trees is intended as an immersive guidebook to the nearly 170 irradiated trees located within a two-kilometer radius around Hiroshima’s ground zero. It presents these trees as “living witnesses” whose subsequent flourishing has provided human survivors with a conceptual figuration of destructive plasticity. Marder and Tondeur’s The Chernobyl Herbarium formally resembles Sugihara’s Pilgrimage to the A-Bombed Trees, and likewise combines text (a combination of short theoretical essays and personal remembrances of the Chernobyl meltdown) and images (Tondeur’s photograms of plants grown in the exclusion zone) into a slim volume that calls for a rejection of language as the sole means of bearing witness. According to Marder, Tondeur’s photograms “bring out the testimony of the plant,” and yet the same procedure renders these plant witnesses “specimens,” full of radioactivity but devoid of life (something Sugihara’s book avoids through the medium of photography). The Chernobyl Herbarium is an attempt to capture, in fragmentary form, the limits of language in the conceptualization of plant life and in the proper conceptualization of the Chernobyl disaster. Ultimately, both texts are experiments to “think the unthinkable and represent the unrepresentable,” to borrow Marder’s words, through a deep, speculative engagement with the botanical realm. As wordless testimony is given voice through human–botanical intra-action, the plasticity of plant life (its capacity to adapt and change) is highlighted, and this allows us to locate moments of phytomorphism – the attribution of vegetal qualities to the human – in these two self-proclaimed “guidebooks.”. (shrink)

This special issue on “Witnessing the Anthropocene” is the second in a two-part endeavour, following the 2022 special issue on “Witnessing After the Human” in Angelaki (vol. 27, no. 2), which toget...

Witnessing the Anthropocene: the task feels both urgent and impossible. How can the human, whether individually or collectively, witness catastrophe at a planetary scale? It is perhaps no surprise...

In this paper, we consider climate change as a systemic respiratory crisis, and explore how breath can function as a mode of witnessing climate catastrophe. We build on feminist environmental humanities methodologies of embodied attunement to advance a more-than-human witnessing of climate change. We suggest that a feminist “conspiratorial” witnessing of breath(lessness) can afford an embodied, situated, empathetic and systemic mode of witnessing. In this approach, the witness (e.g., “the human”) is part of what is witnessed (the climate crisis). As (...) such, breathing climate catastrophe can reveal the intimate, visceral and personal violences of global climate change, and develop empathetic approaches to climate injustice. Nevertheless, as breath’s social and multispecies differentiation reveals, no-one can witness the entirety of climate catastrophe with their own bodies. We thus advocate for collective, more-than-individual modes of knowing, such as science, art and critical analysis, to augment our own sensorial experiences of witness. (shrink)

This paper explores how adaptive creativity is continuously generated and sustained in living systems. The philosophical frame and motivations for this investigation will be introduced by juxtaposing an actual creative process with current cybernetic efforts to automate creativity. Past and present process philosophers that have critiqued the implicit commitments of these contemporary techniques will set the stage for further investigations. The litmus test of progress in this investigation will be measured against the extension of two concepts: virtuality, as introduced by (...) Gilbert Simondon (On the Mode of the Existence of Technical Objects), and relevant noise, as introduced by Bacigalupi (“Semiogenesis: A Dynamic System Approach to Agency and Structure”). To refine the concepts of virtuality and relevant noise for our purposes, a rigorous theoretical model will be proposed whose intent is to explain veritable unbounded creativity. This model will then serve as a heuristic lens to explore additional extant models, such as the Kuramoto model (Strogatz), that are used to explain empirical observations of adaptive and creative behaviors in a diversity of biological phenomena. Based on these models of biological creativity and the critique of the contemporary cybernetic project, this paper will conclude by outlining the ethical implications of our culture’s current commitments to a cybernetic world view and how we might evolve beyond it. (shrink)

Semantic noise, the effect ensuing from the denotative and thus functional variability exhibited by different terms in different contexts, is a common concern in natural language processing (NLP). While unarguably problematic in specific applications (e.g., certain translation tasks), the main argument of this paper is that failing to observe this linguistic matter of fact as a generative effect rather than as an obstacle, leads to actual obstacles in instances where language model outputs are presented as neutral. Given that a common (...) and long-standing challenge in NLP is the interpretation of ambiguous – i.e., semantically noisy – cases, this article focuses on an exemplar ambiguity-resolution task in NLP: the problem of anaphora in Winograd schemas. The main question considered is: to what extent is the standard approach to disambiguation in NLP subject to a stagnant “image of language”? And, can a transdisciplinary, dynamic approach combining linguistics and philosophy elucidate new perspectives on these possible conceptual shortcomings? In order to answer these questions we explore the term and concept of noise, particularly in its presentation as semantic noise. Owing to its definitional plurality, and sometimes even desirable unspecificity, the term noise is thus used as proof of concept for semantic generativity being an inherent characteristic in linguistic representation, and its concept is used to interrogate assumptions admitted in the resolution of Winograd schemas. The argument is speculative and theoretical in method, and the result is an analysis which provides an account of the fundamentally dialogical and necessarily open-ended effects of semantic noise in natural language. (shrink)

The common conception of intelligence in terms of information processing has its origin in cybernetics and information technology. Its import into cognitive science and the humanities not only generates theoretical problems, but also constitutes the basis of methods and policies that have adverse impacts on intelligent agents. In order to demonstrate why this technological conception of intelligence is not suitable for addressing the intelligence of living agents, and why natural intelligence is artificially not imitable, first, the basic notions, formalisms, and (...) assumptions of the technological context are presented. Next, the cybernetic feedback scheme is modified by dropping the technological assumptions, and a more sophisticated closed-loop scheme is developed that is better suited for representing cognitive processes in living agents. With reference to the thus developed scheme, the capacity of achieving ontological expansion, via what will be called “internal restructuring,” is proposed as the criterion for intelligence. (shrink)

Emerging in the wake of the broad paradigm of semiotics in discourses in the human sciences in France in the 1960s, and from other developments and emergent tendencies in philosophy and critical theory, a cluster of works in French thought of the 1970s, by Gilles Deleuze and Félix Guattari, Jean-François Lyotard, and Roland Barthes, investigate the liminal spaces and dynamic relations between sense, sound, and noise. Depending on the angle adopted, these investigations bear upon the relations between articulated sound and (...) noise; language and sound, the formed and the unformed, the coded and the non-coded, sound and music, sound and silence, and other formulations of acoustic liminality. This article brings to light how noise is an operative concept across this material; I argue for its pertinence to the question of the “mental state of noise” as elaborated by Steven Sands and John Ratey in their seminal piece “The Concept of Noise,” and then critically assessed by Cécile Malaspina in The Epistemology of Noise. (shrink)

In this article I attempt to sketch out what we might call an axiology of contingency, namely the study of the value of contingency. The triadic structure of the article follows the paraphrased epigraph from the Gospel of St John, where the word “word” is replaced with “contingency.” Although I play on the words of John in a Hegelian spirit, what is outlined here is an – admittedly brief – attempt to understand contingency as Begriff.

What is the influence of music on the brain? And in what cases can this influence cause dysfunctioning? Among the different examples analyzed by Oliver Sacks, one is particularly significant: the phenomenon of synesthesia. Synesthesia is connected to having an extra one that associates different kinds of sensory information, music, and color. It can sometimes transform hearing music as a painful experience, transforming it into a pure literal meaning – to feel together – the secret condition for all sensations? This (...) hypothesis is examined by the French philosopher Maurice Merleau-Ponty. After all, Wagner was subject to synesthetic syndromes. (shrink)

Few notions are more central than noise to the transformation of modern life. Noise has become synonymous with the complexity of our world and its global digitised information networks, for as the...

The crack of a whip on a horse’s back outside his window, Schopenhauer famously lamented, would lacerate his brain and quash every thought in its infancy. In “The Concept of Noise,” which we are ha...

Inspired by Fragments of a Hologram Rose, a 1977 science fiction short story by William Gibson, this 3D narrative work explores the violent stories of standardisation embedded in 3D composite objects. The full story is accessible online at: https://beyondresolution.info/Shredded-Hologram-Rose.

This paper concerns the role of the unconscious in technology. The central thesis is that there exists an experience of non-acceptance and failed incorporation of technology, which (a) does not depend on the technical engineering dimension of the artifact but (b) instead concerns the relationship between the human unconscious and the artifact. This thesis is supported and developed through the analysis of a case study – that is, the creation and development of the first version of Google Glass. The failure (...) of the first version of Google Glass is explained in terms of the non-acceptance of this technology. This paper presents an analysis of users’ experiences and comments as a basis for interpreting the relationship between the unconscious and technology. Their non-acceptance of this technology is explained and further clarified from a postphenomenological point of view, utilizing the concept of “technological uncanny.” The analysis suggests that antimediation can be understood as a form of noise. In fact, as non-acceptance, antimediation directly concerns the relationship between contingency and control. (shrink)

Abstract“NOISE” is a term we are using to describe a complex and distressing aspect of the bodily and cognitive experience of many very ill psychiatric patients. By “noise,” we mean an internally experienced state of crowding and confusion created by a variety of stimuli, the quantity, intensity and unpredictability of which make it difficult for individuals so afflicted to tolerate and organize their experience. Attempts to do so may only add to confusion and psychotic phenomena.

Noise is said to disturb, disorient, and confuse, but this article looks specifically at the figure of noise “striking” – rather than, say, a rumbling or murmuring disquiet – us to examine its potential to unsettle European liberal hegemonic norms of ordering society and the inequalities they produce. In particular, it focuses on noisy protest, rebellion, and riot which might “awaken” citizens to these injustices and efforts to suppress them. Drawing on work of Saidiya Hartman, Christina Sharpe, Lauren Berlant, Fred (...) Moten, Jacques Derrida, and Catherine Malabou, this article replays and dislodges the long-standing distinction between noise and logos by examining the transformative capacity of noise as something differential that inserts inconvenience into non-relational forms of sovereignty. (shrink)

Michel Serres said that history is the propagation of effects, saying in his conversations with Bruno Latour, “we experience time as much in our inner senses as externally in nature, as much as le temps of history as le temps of weather,” characterized more by turbulence than by Euclidean geometry. Setting out from Serres’ nautical meditation on noise, guided by Giuseppe Longo’s and interlocutors’ characterization of the random as a function of theory and measure, one can distinguish the random from (...) the non-schematizable noisy. How do we think given the noisy dynamics of the world? Bernard Stiegler’s epiphylogenetic technologies and Gilbert Simondon’s transindividuating technics prepares considering thought as collective as well as individual activity. After sallies into algorithmic technology to establish its limits, we consider how epiphylogenetic thought develops in the presence of indeterminacy. We return to noise not as a simple veil between the discernible and indiscernible, but as a constitutive aspect of the complexification and enrichment of developmental ontologies, an enrichment co-articulated by epiphylogenetic imagination and technics. (shrink)

This paper focuses on the significance of the concept of noise for cognition and computation. The concept of noise was massively transformed in the twentieth century with the advent of information theory, cybernetics, and computer science, all of which provide formal accounts of information and noise centrally concerned with contingency. We show how the concept has changed from these classical formulations, through developments in mathematics (topology and topos theory), computing (interactive computing and univalent foundations), and cognitive science (predictive processing and (...) cognitive morphodynamics). Ultimately it argues for the central importance of noise not only within a topological conception of cognition and computation, but also in the transcendental-empirical torsion of image schemata and the social interactive elaboration of freedom. (shrink)

This paper considers how players of Magic: The Gathering (MTG) limited draft turn their acquired gameplay style or disposition (their MTG “gamer habitus”), with respect to drafting, into an object of knowledge. This is done in order to then consciously rework it, to respond to new formats and to the changing metagame. I will focus on a particular case study: how streamer Chord_O_Calls' instructional video shows his own re-evaluation of certain cards. Evidently, it is a process requiring reflexivity, although I (...) aim to be specific with regard to the particular “form of reflexivity” involved. I distribute this outward to the MTG “habit assemblage” (an ensemble of techniques, things, relations) and argue that any individual player's instantiation of this reflexivity involves a practice-based synthesis of paratexts from the MTG habit assemblage that is not codified but is shaped by the assemblage. This leads to a consideration of the “intelligence” and limits of not only particular habits but that of the MTG “habit assemblage” itself. I argue that the broader socio-technical significance of the form of reflexivity that is being proliferated here is one which is defined by its flexibility, by an attentional style of delayed and shifting categorization. (shrink)

This essay explores figurations of death in Lispector’s The Passion According to G.H. and Água Viva. As the other side of life, death in these novels is tied to the work of the unconscious desire that introduces generative rupture to the narrators’ experience of being, thinking, and writing. In making one wander at the limits of thought, language, and being, death also signals the encounter with femininity which leads to the disintegration of the human montage. While in Água Viva the (...) encounter with death unfolds through the instant – as the fleeting yet irreducible nowness – in The Passion it manifests through a gustatory and aural encounter with the mute cockroach and the absent maid’s mural. Along the way, the essay explores the specific savoir coming from death in Lispector’s novels alongside the clinic of psychoanalysis, primarily the recent work of the Freudian School of Quebec that has placed special focus on the links between the death drive and the aesthetic experience. I bring Lispector’s novels into conversation with psychoanalysis to propose that Clarice’s writing – just like the psychoanalytic clinic – fundamentally arises from the desire to uphold the unsayable dimension of death whose creative unfolding enables new modes of being, hearing, and thinking in – and with – the world. Indeed, in Clarice’s novels, to be on the side of writing is to be on the side of death that is both the herald of writing and the ravaging reverberation of the force of writing itself. (shrink)

Clarice Lispector’s texts are a peculiar combination of socio-political analysis and cosmological excess. Commentators on her works have explored either of these two dimensions but have not yet brought them into a singular dialogue. I argue that Lispector insists upon an ethical responsibility in her refusal to disregard the microcosm of a “marginal” life even within a cosmos of her own creation. For this reason, her critique is inextricable from these excesses. The displacement of narrative authority in a method of (...) literary production that refuses conquest opens upon an underlying, and not yet “pre-coded,” primordial cosmology characterized by night, incompleteness, and (sensory) impression, rather than self-assertive knowledge. I focus on The Hour of the Star and The Besieged City, two works that illustrate this dynamic, to capture how the interstices of social marginalization is the site from which a cosmo-political vision takes shape. Lispector’s works do not promote supra-territorial community over a privileged nationalist singularity, but rather the vertiginous excess of open possibility. (shrink)

For Clarice Lispector, language is a sacrament on dazzling display in her work, where the celebration of writing and the emergence of a creative consciousness through the act of writing about writing access an immanent experience of grace beyond any historical religious sensibility. In this, she simultaneously accesses the “great potency of potentiality” that is an experience of freedom undoing anything bound up by language. She embraces the failure of language as the “glory of falling,” the useless experience of grace, (...) and of experiencing the gift of having a body beyond whatever words we can place upon it. In the struggle to behold the “it” underneath language, she strives for an impersonal love – a joy – that respects the inviolability of nature, the “Force of what Exists and that is sometimes called God.” If “the absence of the God is an act of religion,” as she claims, the inviolability of nature is that which preserves an experience of immanent grace in our world. Rather than describe the limitless potential of the self, one’s immersion in the joyful failure of language points toward the self in unique and profound ways without offering definitions, instead allowing internal contradictions to condition one’s selfhood. In Lispector’s fiction we thus confront the pure paradox of the self: an internal, singular individual who yet maintains within themselves (hence, its immanence) a plurivocal affirmation of existence itself and a redefining of God. (shrink)

At first glance, Clarice Lispector’s An Apprenticeship or The Book of Pleasures (1969) might read like a regression from her earlier feminist and anti-Hegelian Passion According to G.H. (1964), given the female protagonist Lóri’s deference in large part to the male character Ulisses. I argue in this essay that any suspicion of such a philosophical letdown can be easily dispelled if we attend to Lóri’s attunement to affects and her immersion in them. As will be explicated in this essay, such (...) an affective investment signals, on the one hand, a return to Spinoza’s philosophy, thus suggesting a resistance toward the claim of a Hegelian philosophical system to surpass Spinoza; on the other hand, this investment, which exceeds the parameters of Spinoza’s philosophy as well, allows Lóri to put into practice an affective philosophy that is not only feminist but also nonanthropocentric. (shrink)

This essay explores the place in Clarice Lispector’s literature that seeks to touch a primary ground of the living with a language that exceeds the symbolic in order to read it from an anthropocenic, posthuman, and feminist present. It argues that the story “A menor mulher do mundo” (Laços de família, 1960) takes to an extreme what happens in all of Lispector’s literature at the point that we can find in Macabéa’s character from A hora da estrela (1976), a sort (...) of continuation of the smallest woman in the world. In both – the story and the novel – materiality comes to life and it is associated with a neutral background that goes beyond the difference between the human and the nonhuman, the feminine and the masculine, and that coincides with language, with the word. Both characters are residue and resistance, and operate in the stories in the same way that the word operates in Lispector’s writing. The Deleuzian concept of minor and its continuation on the concept of immanence are therefore read not only as a way to think beyond the species, but also as that which operates by destabilizing the concept of “woman” as a universal. Lispector’s writing, then, allows us to separate contemporary feminisms from an affirmation of the identity of the feminine and the masculine, to take them instead into an order that – regardless of whether embodied in woman – is outside the patriarchal. (shrink)

In her last novella, The Hour of the Star, Lispector makes plain that the brilliance of life – any life whatever – lies in its capacity to endlessly contemplate itself and that as such it is inseparable from its mode of contemplation. As we will suggest in this article, Lispector’s view of life as living contemplation resonates with Giorgio Agamben’s conception of being as potentiality. In the last installment of his Homo Sacer series, The Use of Bodies, Agamben tries to (...) offer an alternative paradigm of life to that of Western biopolitics, whose power operates on its separation of bare life from forms of life. Central to this new ontology is Agamben’s notion of a life as inseparable from its mode or form, as he highlights using a hyphen: form-of-life. By form-of-life, Agamben means that one’s living is never reducible to the biological or economic facts of existence because it essentially concerns itself with its potentialities, its singular modes of being. Life that contemplates itself is a life which simply is without being reducible to its function. In The Hour of the Star, Lispector’s heroine, Macabéa is not simply a figure of bare life as some critics have suggested by reducing her life to her factual circumstances. She is rather a figure whose life is affected by its own sensation of existing – its unborn possibilities. (shrink)

Clarice Lispector puts forth nothing less than a complete philosophy of time in her writings, that is, a cohesive philosophical examination of what time is, of its physics and metaphysics, of how humans and animals perceive time, and even an innovative aesthetic theory in which time is the inspiring force giving rise to literary and artistic creation. Her view of time is unique in the Western philosophical canon, offering original solutions to many of time’s classic difficulties. For Lispector, time is (...) pure actuality. Reality is an unwavering present that never stops being, is fully material, and is ceaselessly attentive to itself. The present, matter, and attention form the unquestionable unit of the real and the core of Lispector’s philosophy of time. Supporting this structure is her inventive metaphysics of time, anchored in her notion of the “fourth dimension of the instant-now,” which is given close attention. (shrink)

This text gives an account of the experience of reading Clarice Lispector’s Água Viva in the form of a brief dialogue with the text. It foregrounds the writing voice’s address of a second person and the attention this address brings to the acts of writing and reading that hold the two pronouns in relation, producing at once an infinite and nonexistent distance from being to being. The dialogue observes Lispector’s insistent return to the formulation “atrás do pensamento,” which has been (...) translated into English as “beyond thought” and can also be translated as “behind-thought” or as the background of thought, in a more spatial sense. Nancy reads the translation into French, where this spatial nuance is preserved, in consultation with Lusophone interlocutors about the specificities of the Portuguese original. The dialogue interrogates the link across this dimension, the recurrence of the pronoun it in the original Portuguese version of Água Viva, and the acts of writing and reading a text that brings awareness to a living, pulsing, ongoing, and escaping instant beyond meaning that is nonetheless the cause of the address in the first place. The dialogue follows the thread of this movement as it slips out behind thought, where Água Viva meets other books attuned to the instant and in which the dialogue’s “I” feels their vitalizing effects. (shrink)

For the past forty years, philosophers and critical theorists around the world have been fascinated by Clarice Lispector’s writing; her work, however, carries its own, unique theoretical dimension,...

This text gives an account of the experience of reading Clarice Lispector’s Água Viva in the form of a brief dialogue with the text. It foregrounds the writing voice’s address of a second person and the attention this address brings to the acts of writing and reading that hold the two pronouns in relation, producing at once an infinite and nonexistent distance from being to being. The dialogue observes Lispector’s insistent return to the formulation “atrás do pensamento,” which has been (...) translated into English as “beyond thought” and can also be translated as “behind-thought” or as the background of thought, in a more spatial sense. Nancy reads the translation into French, where this spatial nuance is preserved, in consultation with Lusophone interlocutors about the specificities of the Portuguese original. The dialogue interrogates the link across this dimension, the recurrence of the pronoun it in the original Portuguese version of Água Viva, and the acts of writing and reading a text that brings awareness to a living, pulsing, ongoing, and escaping instant beyond meaning that is nonetheless the cause of the address in the first place. The dialogue follows the thread of this movement as it slips out behind thought, where Água Viva meets other books attuned to the instant and in which the dialogue’s “I” feels their vitalizing effects. (shrink)

This article presents Clarice Lispector’s view on writing, showing that for her literature is the writing of the act of writing itself. In question is the writing of the act while acting, the is-being of existence. In this sense, Lispector described her writing as the writing of a screaming object, as abstract writing, almost a painting. Following some central passages of different works, the article is an attempt to seize the main traits of what could be called the gerundive act (...) of literature of Clarice Lispector. (shrink)

Clarice Lispector has been studied thoroughly against the backdrop of Western ontology and feminism, but she has not often been read in relation to postcolonial theory and Black studies. Yet, their critique of coloniality and the radicality with which they conceive of a different world, can provide a fitting frame for understanding what is at stake in Lispector’s thought. When put in dialogue with the work of Édouard Glissant and Denise Ferreira da Silva, Lispector makes a key contribution to the (...) reconfiguration of the relation between the subject and the world that can be understood as an attempt to, echoing Sylvia Wynter, “unsettle the coloniality of being.” Where Glissant effectuates “creolization” and Silva a “hacking” of the subject, Lispector attempts to transgress our colonial relation to the world through a reconfiguration of fertility. In our study of The Passion According to G.H., supported by fragments from the Chronicles, we show: (1) how the passion of G.H., is the passion of a specifically colonial subject; (2) how fertility is an essential link between subjectivity and coloniality, ensuring an atavistic chain of filiation and hence the continuation of a colonially dominated world; and (3) how Lispector reconfigures fertility as a possibility of being deeply affected by the world, so much so that the colonial subject perishes and the chain of filiation is disrupted. As a consequence, we argue that Lispector’s project must not primarily be understood as ontological or in search of pre-discursivity, but as concerned with the revolutionary question of dismantling the colonial subject and its world in order to open up a potential of life otherwise. (shrink)

The essay develops a parallax between Lispector and Heidegger with regard to the question of being: being not as an idea or a concept, or as anything substantive, but being in the spatio-temporal sense of being in being, of the event which lets each instant of “in being” take place. Instantiating this proximity, the essay focuses on dis-humanization and the role that openness to nothingness plays in this context. Lispector’s writings, especially Passion, illustrate how what hinders the true humanity of (...) human beings is not barbarity or animality but what she calls “false humanization,” which sets humans apart from all other beings as if separate from life and nature. Heidegger’s critique of humanisms and their machinational approach to things and the world opens a similar perspective on being. Although presented in markedly different tonalities of writing, Lispector’s and Heidegger’s texts concern the “same” of the passion/pathos of being. (shrink)

I teach with water. It’s nothing very remarkable and I myself do not remember how I settled upon water as a most convenient introduction to what I have to teach, which is to say, to learn. Did not everything begin with water? My own beginnings, in any case, would border on the banal, if they did not signify so much about where I live (race and class) and how I teach (tradition, institution, location), the liberties I can responsibly take, or (...) the sheer length to which one might have to go to register and partake of a sense of wonder – and of outrage – on the impossible path toward a collective experience of learning. In this particular instalment, learning with water is very much about recalling what we know, knowing what we do with the knowledge that we have. I teach with water. I start my class by quietly, if ostensibly, depositing in front of the class, or at the center of the seminar table, a bottle of “spring water.” I then invite the students to attend to this classroom instance of the proverbial elephant, though not necessarily true to the desperate manner of the three blind men. (shrink)

Hydrological landscapes played a significant role in the elaboration of Gaston Bachelard’s and Martin Heidegger’s historical epistemologies. More specifically, both philosophers relied on hydroelectric landscapes to explore nonlinear time and profound epistemological shifts in the history of knowledge. The landscapes they invoke are composed of hydroelectric dams, thunderstorms, and related landmarks like mountains, rivers, and lakes. Together, these varied yet connected elements offer rich environmental and conceptual terrains that I revisit to situate human knowledge formation within a much older natural (...) history, and to lay the groundwork for a deep time theory of knowledge. Such theories promote timefulness and geological consciousness by establishing less anthropocentric historical narratives – or what Dipesh Chakrabarty calls “planetary history” – on more suitable epistemological grounds. (shrink)

The paper addresses some rhetorical uses of the figure of water management from the perspective of an affirmative approach to contamination which Derrida saw as constitutive of affirmation itself. Contaminated water and its discontents discussed in the text frequently appears in various kinds of writings as a frightening figure of contamination which simultaneously brings in the figure of water management as a way of controlling the purity of cultural exchanges and transmissions in which, as Caroline Petronius puts it, contagion journeys (...) out of medicine into culture. The paper also addresses water and its management from the perspective of Astrida Neimanis’s liquidizing of the border between the solid and the fluid as a border between the human and the inhuman. This perspective opens up the sphere of mutual contamination of the human and the inhuman and translates posthumanist theoretical positions into spheres of affirmative exchanges managed not by masters, but by Donna Haraway’s companion species whom, or which, we all are. (shrink)

The water’s voice is tetchy, angry even. It is something to do with measurements and enclosures. Or perhaps with humanity in general. The water speaks to no one in particular. A gargling monologue about vastness and death, its exoplanetary itineraries and its chthonic hideaways, its elements and qualities, even its lack of voice. Even so, the water’s voice enters a subaquatic communication with two other bodies, genderless, formless, in constant becoming. These are both human and non-human bodies, their ways of (...) touching require no skin, moving along primordial confluences and elemental conflicts. (shrink)

In this essay, I examine the relationality between life and water in the context of its intercorporeal manifestations. Drawing on key aspects of Merleau-Pontian phenomenology, my concern is to reflect on water’s enfleshment of life and its complex ecologies of intercorporeity. These Merleau-Pontian key aspects, I note, are in close dialogue with a number of Indigenous cosmo-epistemologies that envisage the world as constituted by profound ecologies of intercorporeal relationality. The loci of my analysis are the Sonoran Desert and the lands (...) of the Tohono O’odham people, all situated within the ongoing violent relations of power unleashed by the forces of settler colonialism, including the partitioning of Indigenous nations by the Mexico–US border, the ecological devastation left in the wake of the construction of the Trump border wall and the increasingly fraught situation of undocumented migrants attempting to cross the US border. The bodies of water that I discuss in this essay disclose the cycles of life and death that turn on the presence and absence of water. These cycles are increasingly ensnared in aquapolitical regimes of governmentality that, in settler colonial contexts, unleash lethal effects that kill both bodies of water and the entities that depend on them for life. (shrink)

Water does rather than is. It wets, humidifies, evaporates, crystallizes, permeates, fills, leaks, drips, trickles, softens, hardens, congeals, dilutes, shapes, drills, erodes, corrodes, bonds, dis...

There are not enough mouths to utterAll your fleeting names, O water.– Wisława Szymborska, “Water”Wisława Szymborska’s poetic take on water is driven by a paradox. On the one hand, the poem speaks...

This article pivots around the work of early modern legal scholar Hugo Grotius to consider the political stakes of ontological assessments of the sea and water in the context of Dutch imperialism. It draws on links with land reclamation projects in the Netherlands, while at the same time ties these to urgent questions within contemporary critical water and ocean studies around water, ontology, and race. Suggesting a rethinking of Grotius’s understanding of the ocean as perpetual res nullius – perpetually ownerless (...) property – it destabilizes renditions of Grotius’s free sea as free from ownership. The ocean remains firmly within the orbit of property, the property of mankind, thereby excluding those considered non-human, including racialized, gendered, and more-than-human life forms. Grotius’s mare liberum as perpetual res nullius does not form an exception from territorial, personal, and national conceptualizations of property, but rather preconditions it – preparing the world for its thingification. I examine how this understanding of the ocean and of water has colonized our thinking of the ocean, law, being, and belonging. At the same time, the ocean’s very materiality seems to resist Grotius’s legal narrative. Although Grotius’s conquest of maritime imagination continues to justify global models of capital accumulation, the ocean always already shores up against and spills out of such reductive imaginaries. (shrink)

This essay reflects on the concept of “hydropower” – the corrosive power of seawater to amalgamate Life and Nonlife in the context of migrant deaths in the waters of the Mediterranean. Through a focus on drowned bodies’ dissolution and eventual sedimentation into their deep-sea surroundings, my approach interrelates the order of biopolitical violence enacted by Europe’s restrictive migration policies and the thick time of the geophysical. The degradation of bodies under the influence of hydropower reveals residual ontologies marked by porousness (...) between embodied forms of Life and their geophysical environments, putting significant pressure on the putatively watertight divide between Life and Nonlife in the Anthropocene. Parsed from the lens of residuality, hydropower reveals humans’ full ontological coincidence with matter writ large, their endurance and solubility in geological life forces, but also the necessity to think agency in terms of human/inhuman continuity in excess of biopower’s regimenting forces. Against the attempted biopolitical suppression of a certain form of humanity, the residual dwelling enacted by hydropower champions the inclusion of new constellations of matter in our political thought processes. (shrink)

Bridging feminist new materialism and feminist phenomenology, Astrida Neimanis’s volume, Bodies of Water, discusses water in terms of nurturing maternality based on a figural reservoir of what she terms “amniotics” and “planetary breastmilk” in order to posit this maternality as the material condition of the embodiment of life. In this article I show that this imagery is a construction consistently haunted by figures of anxiety and loss. I do this by first revisiting earlier interventions in deconstruction concerning materiality and feminist (...) theory as follows. First, pointing out a resonance between this figuration of wateriness and Kant’s notion of the dynamic sublime, I turn to Paul de Man’s reading of materiality in the Kantian sublime in order to suggest that Neimanis’s figuration of maternal water is an effect of an aesthetic ideology. Subsequently, I will revisit Diana Fuss’s reading of Irigaray – Neimanis’s main feminist resource – to show that the ontological status of water as maternal is constructed via an Irigarayan distinction between metaphor and metonymy. Finally, in order to show ways in which the maternal materiality of water is haunted by figures of anxiety and loss, I will consult Elissa Marder’s more recent work on the maternal function. (shrink)

The Cochabamba water war in 2000 was the first water war of the twenty-first century. During the mobilizations in Bolivia, a factory workers’ manifesto read: “We don’t want private property nor state property, but self-management and social property.” The social practices of many Cochabambinos and Cochabambinas did not defend water as an object. They supported forms of life in common and a way of practicing democracy in the politics of presence. They recalled traditional usos y costumbres, which have been reconfigured (...) in their encounter with other unprecedented practices, situations, and legal systems. Finally, the water war insurgents aimed to restore another practice of democracy and different property relations. Social property (propiedad social) was born in the social and political context of the water war mobilizations. In this article, I investigate social property as a practice that exceeds the current legal definition of ownership and discloses new legal forms of relationship with water. Methodologically, it is about extracting theory from practice – extracting from concrete social practices new concepts that require thinking about. (shrink)

By bringing queer ecologies to bear on the blue humanities, this essay promotes a queer hydropoetic investigation that attends to the forms, aesthetics, and politics of pools. Pools are sites of aquatic enjoyment, sport, and revelation that have long been understudied within the blue humanities. We ask whether the promises and failures of swimming in these geographies can provide a queer heuristic in which submersion, immersion, and staying afloat subtend coming out, queer eroticism, and queer of color coalitional politics. Our (...) tripartite examination engages the independent film Saved! (2004), the ecosexual documentary Water Makes Us Wet (2019), and the young adult novel and graphic novel adaptation of Gabby Rivera’s Juliet Takes a Breath (2016/2019 and 2020, respectively). Our analysis of pools, as intimate bodies of water that capture media and literature alike, reorients the blue humanities to consider closer proximities and smaller scales of water’s queer potentiality. (shrink)