Online research in philosophy

This essay examines Deleuze's account of time and the wound in The Logic of Sense and, to a lesser extent, in Difference and Repetition. As such, it will also explicate his understanding of the event, as well as the notoriously opaque ethics of counter-actualisation that are bound up with it, before raising certain problems that are associated with the transcendental and ethical priority that he accords to the event and what he calls the time of Aion. I will conclude by (...) proposing a dialectic between the two aspects of time that he counterposes (Aion and Chronos, roughly the disjunctive and the conjunctive) that does not instantiate any kind of a priori privilege of the one over the other. (shrink)

This paper explores the idea that Deleuze’s oeuvre is best understood as a philosophy of the wound, synonymous with a philosophy of the event. Although this wound/scar typology may appear to be a metaphorical conceit, the motif of the wound recurs frequently and perhaps even symptomatically in many of Deleuze’s texts, particularly where he is attempting to delineate some of the most important differences (transcendental, temporal, and ethical) between himself and his phenomenological predecessors. I raise some some potential problems for (...) this trajectory, most of which revolve around Deleuze's use of transcendental philosophy. (shrink)

In this fascinating collection of essays, noted critic Geoffrey Hartman raises the essential question of where we can find the real or authentic in today's world, and how this affects the way we understand our human predicament. Hartman explores such issues as the fantasy of total information and perfect communication encouraged by the internet, the biographical excesses of tell-all talk shows that serve to shore up a personal sense of unreality, the tendency to motivate violence in the name of some (...) moral or spiritual necessity, and the increased difficulty of distinguishing between fakery and truth in confessional and testimonial writing. Underlying the entire book is the crucial issue of how the trauma of the Holocaust and other genocidal acts, brought home to us almost daily by the media, is shaping our quest for agency, identity and meaning. Against what he describes as a contempt for the aesthetic in the face of social suffering, Hartman produces a defense of art that helps to recast these questions. His idea is that the form of contemplation produced by the aesthetic, and particularly by poetry, resists both the fantasy of data delivering up their own final meaning and of ideology as a shortcut seeking to deliver us from literature and other deeply reflective and sometimes vulnerable--because self-critical--modes of expression. (shrink)

Tumors, abscesses, cysts, scars, fractures are familiar types of what we shall call pathological continuant entities. The instances of such types exist always in or on anatomical structures, which thereby become transformed into pathological anatomical structures of corresponding types: a fractured tibia, a blistered thumb, a carcinomatous colon. In previous work on biomedical ontologies we showed how the provision of formal definitions for relations such as is_a, part_of and transformation_of can facilitate the integration of such ontologies in ways which (...) have the potential to support new kinds of automated reasoning. We here extend this approach to the treatment of pathologies, focusing especially on those pathological continuant entities which arise when organs become affected by carcinomas. (shrink)

In semiclassical mechanics one finds explanations of quantum phenomena that appeal to classical structures. These explanations are prima facie problematic insofar as the classical structures they appeal to do not exist. Here I defend the view that fictional structures can be genuinely explanatory by introducing a model-based account of scientific explanation. Applying this framework to the semiclassical phenomenon of wavefunction scarring, I argue that not only can the fictional classical trajectories explain certain aspects of this quantum phenomenon, but also that (...) an explanation that does not make reference to these classical structures is, in a certain sense, deficient. Introduction The Case of Wavefunction Scarring Model Explanations, or How Fictional Structures Can Explain Putting Understanding Back into Explanation CiteULike Connotea Del.icio.us What's this? (shrink)

: Erich Auerbach's famous comparative study of Homer and the Bible, "Odysseus' Scar," argues that their contrastive styles derive from the different possibilities available to oral tradition and literature. In support of this thesis, I invoke two theories of verbal art: Walter Benjamin's description of the storyteller's craft, and Victor Shklovsky's definition of art as "defamiliarization." Through a comparative analysis of the use of type-scenes in Homer and in biblical narrative, I demonstrate how Homer is a traditional storyteller, practicing an (...) "art of the familiar," whereas biblical narrative "defamiliarizes" traditional forms. (shrink)

Terrorism is not an abstract subject matter – at least not for me. As I set out to write the n-th draft of this lecture (it was never so difficult for me to write a lecture!), the news of the November 21st suicide attack in a bus in the Kiryath Menachem neighborhood in western Jerusalem break through the selfimposed walls of my peace of mind. The bus exploded at 7:28 a.m. There is no doubt about the target: children, young girls (...) and boys going to school, eager to learn and to play. Twelve lives – including that of the suicide bomber – cut down before they were given the chance to blossom. Forty-eight lives scarred forever. The lives of dozens of families disrupted forever. Trauma, fear, and hatred once more got their heavy toll. Calls for vengeance, for more death and horror, are sure to lead to more deaths in an absurd action-reaction dialectics of horror. As long as these voices prevail on both sides, the senseless bloodbath will no doubt continue. (shrink)

As an art theoretician, and as a father, I focus on the social and political consequences of Vanderbeeken’s postmodernist negative theology. I express doubts about the relevance of a poetics of catastrophe that conflates any possible alternative to the alleged technocracy under the sign of the simulacrum. To my opinion, the discourse about the virtual and the real are in a deadlock. Following the lead of American novelist Thomas Pynchon, I rephrase these critical doubts in Luddite terms: should we imagine (...) a counterattack as radical as the alleged dystopian nightmare dreamed up and sketched out by Vanderbeeken? I try to show that this line of thinking risks to result in a bold and speculative logic where ethical nuance collapses and, ultimately, the relationship between art, theory and the social culture is reduced to metaphorical analogy. To make this point I retake a critical, phenomenologically inspired reaction by Vivian Sobchack to Baudrillard’s account of Crash, J.G. Ballard’s controversial novel on techno-fetishism. My argument is that the scar that marks Sobchack’s ‘technobody’ might here stand for an alternative that approaches our technological condition not as a discursive machine but as a social pragmatics with deep ethical implications. (shrink)

It is untrue that, as Hegel said in 1807 in the Phänomenologie, «the wounds of the spirit heal and leave no scar behind; what is done is not indelible, but is reassumed by the spirit» (GW 9, 360) since the ground of reality, that reality which, as indicated by Kant, seems to be submerged in evil (Ak. VI), refuses to be tamed by concepts. Disappearance without remnant, that dissolution (Verschwindung) mentioned by Hegel would suppose that there is no remnant of (...) evil, thatits effects in history-such as the Jacobin terror with its macabre liturgy of severed heads referred to in the above passage of the Phänomenologieare nothing more than moments to be sublate (aufgehoben), part of a necessary process. There is no remnant to be explained. All is revealed: Offenbarung der Tiefe. The relationship between Hegel and Schelling has in this topic, the problem of evil and its meaning in history (Geschichte), one of its key points: in Schelling one can see a hollow which constitutes a pathway to the problem of finitude and evil, studied in depth in the Freiheitsschrift of 1809, partly as a response to the critics expressed by Hegel in the Phänomenologie. While Hegel reduced evil to an abstract negation, to be overcome through a determinated negation as a sign ofthe reason in history, in Schelling evil would remain a permanent possibility that can never be dissolved (verschwinden) or overcome (aufgehoben) any way. (shrink)

Cities, at their best, are cradles of diversity, opportunity, and citizenship. Why, then, do so many cities today seem scarred by divisions separating the powerful and privileged from the victims of deprivation and injustice? What is it like to live on the wrong side of the divide in Paris, London, New York, Sao Paolo, and other cities all over the world? -/- In this book, based on the internationally renowned Oxford Amnesty Lectures, eight leading urban thinkers argue about why divisions (...) arise in cities and about what could and should be done to bring those divisions to an end. The book features essays by Patrick Declerck, Stuart Hall, David Harvey, Richard Rogers, Patricia Williams, and James Wolfensohn, with commentaries from Peter Hall, Michael Likosky, and others. The many contemporary issues that the book addresses include the impact of globalization and migration on the urban environment, the consequences of the 'war on terror' for those living in cities, the new development paradigm being adopted by international institutions in the developing world, the need for a genuine urban renaissance in Britain and elsewhere, and the suffering of the homeless. -/- These controversial and sometimes conflicting essays, linked by Richard Scholar's incisive introduction, aim to encourage and inform debate about the challenges to human rights in our increasingly urban world. (shrink)

I address the question of the origins and historical meaning of art. Analyzing suggestions from Marx, Derrida, Winnicott, and Todorov, I claim that art doesn’t simply represent conscious, historical events but is also the continuing presentation of the prehistorical break-up of our “original” human family. Indeed,perpetuating yet distancing this archaic scene of community and violence in tension, art performs this mediation not just in history but also as history, as a secretive historiography of splitting and meaning-making. To this end, I (...) analyze some tribal tattooing and scarring practices. Literally carving a world of metaphorical significance out of our disidentification with mother nature and with each other in turn, art speaks hieroglyphically of persistent primitive loss. (shrink)