In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 51-56 [Access article in PDF] KarraKarrawirraparri-River Red Gum-Eucalyptus Camaldulensis Vivonne Thwaites [Figures]Karra was a visual arts project devised for the 2000 Adelaide Festival in Australia. Its focus was the River Red Gum, quite justifiably an Australian icon, and once the most widespread tree in south eastern Australia. The project comprised an installation by three artists and a forty-page publication with essays (...) and visual material from many contributors.The intention of the project (which I developed and oversaw as curator) was twofold. First, I hoped that an examination of the River Red Gum from a number of points of view might help people connect with the tree itself, and more broadly with this place non-Aboriginal Australians so uneasily inhabit. Second, given the tree's central place in Australia's inland waterways, I wanted the art to help people consider the urgent problems facing this ecosystem, such as increased salinity, diminished water flow and environmental degradation. This subject had particular relevance for South Australians, as our state is so dependent on the Murray-Darling River system. For example, in February 1999 the Commonwealth Scientific and Industrial Research Organisation published a media release on "Salt: Australia's Greatest Battle," declaring that we stand to lose a large fraction of our native biodiversity to salinity, and that native tress "remain the front line answer." [End Page 51]Behind the Festival Centre lies the River Torrens and the Adelaide Plains. Along the river are several gnarled old trees, River Red Gums, some of them predating white settlement and bearing the scars of Aboriginal timber collecting activities. The media was full of stories about the way these trees were still being cut down along the Murray further out, regardless of their proven value in filtering water and reducing salinity. The theme of the 2000 Festival was "The New Out of the Old," and it seemed that a project about the relevance of these beautiful old trees would help educate and inspire. We found the subject for the Festival project right in our own backyard.Once committed to the subject, research could begin. First up was the tree's Aboriginal history. The Kaurna people, original inhabitants of the Adelaide Plains, called it Karra or more fully, Karrawirraparri (literally 'redgum-forest-river'). The tree was central to their lives as source of food and shelter, and supplier of timber for shields and other implements. There are incised shields of Red Gum in the South Australian Museum, and delicate drawings of the tree by Jim Kite. The tree's place in Australia's white history can be traced back to explorer's journals where, variously named, it was described as a welcome sign of the presence of a watercourse. More recently it appears in the natural history writing of Eric Rolls and others (Rolls 2002). Ironically the tree's botanical name, Eucalyptus camaldulensis, originated in 1832, when a botanist admired and named a single specimen grown by monks outside Naples, Italy. The eucalyptus was already spreading in 1832.Early in the research it became clear that the Red Gum tree, and the complex set of natural and cultural interactions it engendered, could be seen as a symbol of human interactions with the land in Australia. The tree was much discussed and much loved by Australians, but also much abused. It seemed that bringing together different systems of understanding and representation of the tree could help contemporary urban Australians begin to understand their own connections to it, and to the land as well. This was the broader cultural agenda of the project.Preparing the art exhibition required a wide reading of literature. Les Murray's poem, "The Gum Forest," one of the greatest 20th - century Australian poems, was inspirational: After the last gapped wire on a post, homecoming for me, to enter the gum forest. (1998, 33) [End Page 52] [Begin Page 54]So too was Murray Bail's book Eucalyptus: By sheer numbers there's always a bulky Red Gum here or somewhere else in the wide world, muscling into the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 51-56 [Access article in PDF] KarraKarrawirraparri-River Red Gum-Eucalyptus Camaldulensis Vivonne Thwaites [Figures]Karra was a visual arts project devised for the 2000 Adelaide Festival in Australia. Its focus was the River Red Gum, quite justifiably an Australian icon, and once the most widespread tree in south eastern Australia. The project comprised an installation by three artists and a forty-page publication with essays (...) and visual material from many contributors.The intention of the project (which I developed and oversaw as curator) was twofold. First, I hoped that an examination of the River Red Gum from a number of points of view might help people connect with the tree itself, and more broadly with this place non-Aboriginal Australians so uneasily inhabit. Second, given the tree's central place in Australia's inland waterways, I wanted the art to help people consider the urgent problems facing this ecosystem, such as increased salinity, diminished water flow and environmental degradation. This subject had particular relevance for South Australians, as our state is so dependent on the Murray-Darling River system. For example, in February 1999 the Commonwealth Scientific and Industrial Research Organisation published a media release on "Salt: Australia's Greatest Battle," declaring that we stand to lose a large fraction of our native biodiversity to salinity, and that native tress "remain the front line answer." [End Page 51]Behind the Festival Centre lies the River Torrens and the Adelaide Plains. Along the river are several gnarled old trees, River Red Gums, some of them predating white settlement and bearing the scars of Aboriginal timber collecting activities. The media was full of stories about the way these trees were still being cut down along the Murray further out, regardless of their proven value in filtering water and reducing salinity. The theme of the 2000 Festival was "The New Out of the Old," and it seemed that a project about the relevance of these beautiful old trees would help educate and inspire. We found the subject for the Festival project right in our own backyard.Once committed to the subject, research could begin. First up was the tree's Aboriginal history. The Kaurna people, original inhabitants of the Adelaide Plains, called it Karra or more fully, Karrawirraparri (literally 'redgum-forest-river'). The tree was central to their lives as source of food and shelter, and supplier of timber for shields and other implements. There are incised shields of Red Gum in the South Australian Museum, and delicate drawings of the tree by Jim Kite. The tree's place in Australia's white history can be traced back to explorer's journals where, variously named, it was described as a welcome sign of the presence of a watercourse. More recently it appears in the natural history writing of Eric Rolls and others (Rolls 2002). Ironically the tree's botanical name, Eucalyptus camaldulensis, originated in 1832, when a botanist admired and named a single specimen grown by monks outside Naples, Italy. The eucalyptus was already spreading in 1832.Early in the research it became clear that the Red Gum tree, and the complex set of natural and cultural interactions it engendered, could be seen as a symbol of human interactions with the land in Australia. The tree was much discussed and much loved by Australians, but also much abused. It seemed that bringing together different systems of understanding and representation of the tree could help contemporary urban Australians begin to understand their own connections to it, and to the land as well. This was the broader cultural agenda of the project.Preparing the art exhibition required a wide reading of literature. Les Murray's poem, "The Gum Forest," one of the greatest 20th - century Australian poems, was inspirational: After the last gapped wire on a post, homecoming for me, to enter the gum forest. (1998, 33) [End Page 52] [Begin Page 54]So too was Murray Bail's book Eucalyptus: By sheer numbers there's always a bulky Red Gum here or somewhere else in the wide world, muscling into the... (shrink)

In this paper I argue that the technologizing of most things in our daily lives, from work and education to finance and leisure, can be seen to promote a loss of the tangible and a rootlessness for human societies, causing a disorientation in the knowledge and beliefs acquired over millennia. Arendt’s proposal that ‘the earth is the very quintessence of the human condition’ (1958, p. 2) appears to be challenged as digital interactions create new spaces that coax humans away from (...) a focus on their physical world. Instantaneity and simultaneity avoid the historic conditions of humanity in relation to time and place, while the hyperreal images and simulations of the virtual either distort reality or do not depict anything with a real existence. Stiegler goes so far as to suggest that human knowledge and memory is being confiscated by technology. The acceleration of reality, as a condition of the instant, erases the beginning as much as the end, and past, present and future are diminished as contemporary becomes simply temporary. My position, while not utopian, does not seek to be irrationally dystopian and accepts that there is much in technology that advances human physical well-being and thought. It is, however, cautionary in its concern that private technology corporations, having seconded science, actively seek to increase their market and control over hyperconnectivity, thinking, knowledge and the human condition. I draw on the writings of Stiegler and Virilio in particular, both of whom acknowledge a debt to Heidegger. (shrink)

In this paper I argue that the technologizing of most things in our daily lives, from work and education to finance and leisure, can be seen to promote a loss of the tangible and a rootlessness for human societies, causing a disorientation in the knowledge and beliefs acquired over millennia. Arendt’s proposal that ‘the earth is the very quintessence of the human condition’ (1958, p. 2) appears to be challenged as digital interactions create new spaces that coax humans away from (...) a focus on their physical world. Instantaneity and simultaneity avoid the historic conditions of humanity in relation to time and place, while the hyperreal images and simulations of the virtual either distort reality or do not depict anything with a real existence. Stiegler goes so far as to suggest that human knowledge and memory is being confiscated by technology. The acceleration of reality, as a condition of the instant, erases the beginning as much as the end, and past, present and future are diminished as contemporary becomes simply temporary. My position, while not utopian, does not seek to be irrationally dystopian and accepts that there is much in technology that advances human physical well-being and thought. It is, however, cautionary in its concern that private technology corporations, having seconded science, actively seek to increase their market and control over hyperconnectivity, thinking, knowledge and the human condition. I draw on the writings of Stiegler and Virilio in particular, both of whom acknowledge a debt to Heidegger. (shrink)

Choice feminism is a popular form of contemporary feminism, encouraging women to embrace the opportunities they have in life and to see the choices they make as justified and always politically acceptable. Though this kind of feminism appears at first glance to be tolerant and inspiring, its narratives also bring about a political stagnation as discussion, debate and critical judgement of the actions of others are discouraged in the face of being deemed unsupportive and a ‘bad’ feminist. Choice feminism also (...) encourages neoliberal values of individualism and consumerism, while downplaying the need for political and collective action against systematic inequalities. Yet in order to succeed in creating change for women, debate needs to occur, and not all decisions can be supported if they act to further inequality and a patriarchal status quo. In this article, I would like to argue for the continued need to engage politically with other feminists and with the status of the movement as a whole, by critiquing choice feminism and looking empirically at how discussion and dissent can be silenced by the choice narrative. The empirical data in this article will focus on online discussions of naming on marriage to illustrate the wider theoretical argument. (shrink)

Global economic and advanced capitalist agendas have taken on ideological dimensions that are flat, precise and which assert ‘undeniable’ facts. These agendas are gradually shaping a society and its education based on consumerism and a global economic order which is ‘not accidentally or superficially spectacular, it is fundamentally spectaclist. In the spectacle … goals are nothing, development is everything. The spectacle aims at nothing other than itself’. In this paper, I argue, in line with Debord, that teachers’ work has moved (...) from being predominantly controlled by technicist accountability and pedagogical conformity to become a form of decentred labour. Teachers’ work has been transformed into the role of spectator, one who is destined to simply monitor events in the classroom and in technologized environments, caught between the economic world view and student consumer desire. In such a view, the teacher can do little more than watch while education, subjugated to economic dogma and digitized appearances, presents life as a spectacle of accumulation and desire. (shrink)

Re-reading Derrida: Perspectives on Mourning and its Hospitalities, edited by Tony Thwaites and Judith Seaboyer, is a uniquely collaborative exploration of the legacies of Jacques Derrida. Scholars from a wide variety of fields respond to his work by addressing such issues as the politics of the memorial, poetry, trauma, film, neoliberalism, the novel, and psychoanalysis--and then, in the processes of revision, they respond to each other.

Creativity is inextricably linked to the ontology of being; as the history of philosophy frequently shows, it encompasses both the need to transform and be transformed. In this essay I examine the notion of “being creative” on the way to opening up our relationship to the essence of creativity, taking Heidegger’s interpretation of essence as the way in which something is revealed and endures. I ask what is meant by a creative act and how does the harnessing of creativity compel (...) it to do what it does. Such questioning requires thinking and, in the context of this essay, if we regard thinking as a set comprising hearing and seeing, then sensible hearing and seeing is taken into the realm of non-sensible perception, that is, “thinking.” I draw throughout almost exclusively on the writings of Heidegger and exemplify through factical considerations in jazz. (shrink)

This book is an introductory guide to that Freud and brings together for the first time: - an overview of Freud's work which enables the reader to see quickly ...

“Es fundamental comprender que la verdadera autonomía se pelea a lo largo de la sociedad (incluyendo el Estado). Aclaro de nuevo aquí para que no haya malentendidos: creo que la construcción de la autonomía, lo que algunos llaman “contrapoder”, tiene que ser el horizonte fundamental de nuestra táctica política. Pero, para cambiar el mundo hay que encontrar la forma de desapoderar el Estado y reemplazarlo por otra forma de relación social. Las asambleas de barrio, las fábricas autogestionadas..

In lieu of an abstract, here is a brief excerpt of the content:Proust and the Phenomenology of MemoryThomas M. Lennon"I still believe that anything that I do outside of literature and philosophy will be so much time wasted." Thus did the twenty-two year old Marcel Proust (1871–1922) write to his father, reluctantly agreeing to consider a career in the foreign service as an alternative to the legal profession otherwise being urged upon him. ("I should vastly prefer going to work for (...) a stockbroker," was his comment.)1 Happily for us all, Proust was obliged to do neither, and in fact was able to do both philosophy and literature. As André Maurois puts it, "[Proust's] great novel is philosophy incarnate."2 Certainly, In Search of Lost Time is saturated with philosophy, the appreciation of which cannot help but enhance our understanding of this great work. The thesis here will be that a loosely phenomenological account of the work's central concept of memory gives us the structure of the work as a whole.The biographical facts suggest such an approach. Proust received a license from the Sorbonne in 1895, and, more importantly, had previously been a student of the philosopher Alphonse Darlu at the Lycée Condorcet. Although he published very little, Darlu was a charismatic, inspirational figure for his students—not least of all for Proust himself, who described him as "the great philosopher whose inspired words, more certain to last than any writing would, gave birth in me as in so many others to thought itself."3 A touching artifact of Proust's time with Darlu is his report card, preserved in the Proust Museum at Illiers-Combray. Not incidentally, it shows a concentration on the classical authors who will be deployed here. We also have a wonderful little text that argues a kind of phenomenalism influenced perhaps by Hume, and certainly by Kant.4 The one author important to our account whose name does not figure as such in any of this material is Malebranche; but we know [End Page 52] that Proust was familiar with the great Oratorian since he quotes him.5 In fact, the only author appearing below who could not have been on Proust's shelf is Kundera, the most philosophical and Proustian of all recent novelists.We begin with a text; it is the most famous of all in French literature, the episode of the madeleine from the Search. The text has become so well known—through hearsay more than from having been read, no doubt—that it has invited "kitchification."6 Even so, it is an exquisite piece of writing, which, in any case, is essential to the thesis here.Many years had elapsed during which nothing of Combray... had any existence for me, when one day in winter as I came home, my mother, seeing that I was cold, offered me some tea, a thing that I did not ordinarily take.... She sent out for one of those plump little cakes called 'petites madeleines'.... I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid, and the crumbs with it, touched my palate than a shudder ran through my whole body.... And suddenly the memory [le souvenir] returns. The taste was that of the little crumb of 'madeleine' which on Sunday mornings at Combray... my Aunt Léonie used to give me, dipping it first in her own cup of real or lime-flower tea.... Immediately the old grey house upon the street rose up like the scenery of a theatre... in a moment all the flowers in our garden and in M. Swann's park, and the water-lilies on the Vivonne and the good folk of the village and their little dwellings and the parish church and the whole of Combray and of its surroundings, taking their proper shapes and growing solid, sprang into being, town and gardens alike, from my cup of tea.7There are other such episodes of the past springing into being, but not many, and they occur but infrequently, until the very end of this vast work, when they come upon the narrator rapidly and almost... (shrink)