- Dites-moi au moins l'argument de la querelle. - Oh! il est si simple qu'il paraît pauvre face à tant de points de vue qui aménagent plus ou moins une dilution du cinéma dans l'art contemporain, et son histoire à l'intérieur de l'histoire de l'art. La projection vécue d'un film en salle, dans le noir, le temps prescrit d'une séance plus ou moins collective, est devenue et reste la condition d'une expérience unique de perception et de mémoire, définissant son spectateur (...) et que toute situation autre de vision altère plus ou moins. Et cela seul vaut d'être appelé "cinéma". - Vous ne suggérez tout de même pas une primauté de l'expérience du spectateur de cinéma sur les expériences multiples du visiteur-spectateur des images en mouvement de l'art dont on tend à le rapprocher? - Evidemment non. Il s'agit simplement de marquer qu'en dépit des passages opérant de l'une aux autres et inversement, ce sont là deux expériences trop différentes pour qu'on accepte de les voir confondues. On n'oblige personne à se satisfaire de la "vision bloquée" de la salle de cinéma. Ce "désert de Cameraland", disait Smithson, ce "coma permanent". On peut préférer la flânerie, la liberté du corps et de l'esprit, la méditation libre, l'éclair de l'idée. On peut aussi, comme Beckett, se sentir "mieux assis que debout et couché qu'assis". Simplement, chaque fois cela n'est pas pareil, on ne sent ni on ne pense vraiment les mêmes choses. Bref, ce n'est pas le même corps. D'où la nécessité de marquer des pôles opposés pour mieux saisir tant de positions intermédiaires. (shrink)

It is the outstanding characteristic of the works of David Claerbout to be situated in an essentially ambivalent place between cinema and photography. Both practices are used – either individually or in combination – in a very individual way. The series of projections of installations, which is mapped out from Sections of a Happy Moment onwards (followed by Arena and The Algiers’ Sections of a Happy Moment), drives the confusion of motion and rest to the extreme of an undecidability, which (...) is the result of the new imaging techniques that Claerbout uses. (shrink)

Antoni Muntadas aims to intensify art, and intensify perception. This leads to a life and work « on translation », which circulate between languages, institutions, countries and cities, in a generalized whirlwind through the world.

Film Theory addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers, including the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. This volume takes the position that film theory is a form of writing that produces a unique cinematic grammar; and like all grammars, it forms part of the system of rules that govern (...) a language, and is thus applicable to wider range of media forms. In their creation of authorial trends, identification of the technology of cinema as a creative force, and production of films as aesthetic markers, film theories contribute an epistemological resource that connects the technologies of filmmaking and film composition. This book explores these connections through film theorisations of processes of the diagrammatisation of cinematic matters of the filmic world. (shrink)

The French philosopher Gilles Deleuze was one of the most innovative and revolutionary thinkers of the twentieth century. Author of more than twenty books on literature, music, and the visual arts, Deleuze published the first volume of his two-volume study of film, _Cinema 1: The Movement-Image_, in 1983 and the second volume, _Cinema 2: The Time-Image_, in 1985. Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, and cultural studies scholars (...) still grapple today with how they can most productively incorporate Deleuze's thought. The first new collection of critical studies on Deleuze's cinema writings in nearly a decade, _Afterimages of Gilles Deleuze's Film Philosophy_ provides original essays that evaluate the continuing significance of Deleuze's film theories, accounting systematically for the ways in which they have influenced the investigation of contemporary visual culture and offering new directions for research. Contributors: Raymond Bellour, Centre Nationale de Recherches Scientifiques; Ronald Bogue, U of Georgia; Giuliana Bruno, Harvard U; Ian Buchanan, Cardiff U; James K. Chandler, U of Chicago; Tom Conley, Harvard U; Amy Herzog, CUNY; András Bálint Kovács, Eötvös Loránd U; Patricia MacCormack, Anglia Ruskin U; Timothy Murray, Cornell U; Dorothea Olkowski, U of Colorado; John Rajchman, Columbia U; Marie-Claire Ropars-Wuilleumier, U Paris VIII; Garrett Stewart, U of Iowa; Damian Sutton, Glasgow School of Art; Melinda Szaloky, UC Santa Barbara. (shrink)

In the 21st century, the screen - the Internet screen, the television screen, the video screen and all sorts of combinations thereof - will be booming in our visual and infotechno culture. Screen-based art, already a prominent and topical part of visual culture in the 1990s, will expand even more. In this volume, digital art - the new media - as well as its connectedness to cinema will be the subject of investigation. The starting point is a two-day symposium organized (...) by the Netherlands Media Art Institute Montevideo/TBA, in collaboration with the _L&B _ series and the Amsterdam School of Cultural Analysis. Issues which emerged during the course of investigation deal with questions such as: How could screen-based art be distinguished from other art forms? Could screen-based art theoretically be understood in one definite model or should one search for various possibilities and/or models? Could screen-based art be canonized? What are the physical and theoretical forms of representation for screen-based art? What are the idiosyncratic concepts geared towards screen-based art? This volume includes various arguments, positions, and statements by artists, curators, philosophers, and theorists. The participants are Marie-Luise Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, Honoré d'O, Anne-Marie Duquet, Ken Feingold, Ursula Frohne, hARTware curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser and Siegfried Zielinski. (shrink)

Political judgment in its historical context -- The politics of managing decline -- Moralism and realpolitik -- On the very idea of a metaphysics of right -- The actual and another modernity : order and imagination in Don Quixote -- Culture as ideal and as boundary -- On museums -- Celan's Meridian -- Heidegger and his brother -- Richard Rorty at Princeton : personal recollections -- Melody as death -- On bourgeois philosophy and the concept of "criticism".

The other, potentially diabolical, aspect of this construction is the one that presented itself to Primo levi when he realised that in Auschwitz there was no “ why” (“hier gibt es kein 'Warum' ” [“here there is no 'why'”]). levi's experience, of course, ...

The relation of merleau-ponty's work to husserlian phenomenology continues to be a matter of discussion and disagreement. since merleau- ponty considered the doctrine of reduction the ultimate notion in husserl's philosophy, this paper attempts to clarify the relationship of the two thinkers by contrasting their theories of the reduction. such a study indicates that the transcendental sphere achieved by merleau-ponty's reduction is decisively different from that of husserl. hence his philosophy is best understood as the development of a new transcendental (...) philosophy rather than a modification of the original husserlian phenomenology. (shrink)

Raymond Callahan's lively study exposes the alarming lengths to which school administrators went, particularly in the period from 1910 to 1930, in sacrificing educational goals to the demands of business procedures.

This handbook for advanced students explains the various applications to music of methods derived from linguistics and semiotics. The book is aimed at musicians familiar with the ordinary range of aesthetic and theoretical ideas in music; no specialized knowledge of linguistic or semiotic terminology is necessary. In the two introductory chapters, semiotics is related to the tradition of music aesthetics and to well-known works like Deryck Cooke's The Language of Music, and the methods of linguistics are explained in language intelligible (...) to musicians. There is no limitation to one school or tradition; linguistic applications not avowedly semiotic, and semiotic theories not connected with linguistics, are all included. The book gives clear and simple descriptions with ample diagrams and music examples of the 'neutral level', 'semiotic analysis', transformation and generation, structural semantics and narrative grammar, intonation theory, the ideas of C.S. Peirce, and applications in ethnomusicology. (shrink)

Cognitive theories of metaphor understanding are typically described in terms of the mappings between different kinds of abstract, schematic, disembodied knowledge. My claim in this paper is that part of our ability to make sense of metaphorical language, both individual utterances and extended narratives, resides in the automatic construction of a simulation whereby we imagine performing the bodily actions referred to in the language. Thus, understanding metaphorical expressions like ‘grasp a concept’ or ‘get over’ an emotion involve simulating what it (...) must be like to engage in these specific activities, even though these actions are, strictly speaking, impossible to physically perform. This process of building a simulation, one that is fundamentally embodied in being constrained by past and present bodily experiences, has specific consequences for how verbal metaphors are understood, and how cognitive scientists, more generally, characterize the nature of metaphorical language and thought. (shrink)

In a field dominated by research on moral prescription and moral prediction, there is poor understanding of the place of moral perceptions in organizations alongside philosophical ethics and causal models of ethical outcomes. As leadership failures continue to plague organizational health and firms recognize the wide-ranging impact of subjective bias, scholars and practitioners need a renewed frame of reference from which to reconceptualize their current understanding of ethics as perceived in individuals. Based on an assessment and selection perspective from the (...) field of human resource management, an alternative to conventional deductive-prescriptive approaches is proposed based on a pluralistic concept referred to as moral goodness. An inductive-descriptive theory-building framework is constructed based on three interrelated streams of inquiry to yield insight concerning both formal and informal instances of assessment. Recommendations are proposed for the application of the framework to future research and practice. (shrink)

This paper explores the trade-off between cognitive effort and cognitive effects during immediate metaphor comprehension. We specifically evaluate the fundamental claim of relevance theory that metaphor understanding, like all utterance interpretation, is constrained by the presumption of optimal relevance (Sperber and Wilson, 1995, p. 270): the ostensive stimulus is relevant enough for it to be worth the addressee's effort to process it, and the ostensive stimulus is the most relevant one compatible with the communicator's abilities and preferences. One important implication (...) of optimal relevance is that listeners follow a path of least effort and stop processing at the first interpretation that satisfies their expectation of relevance. They do this by trying to minimize cognitive effort while maximizing cognitive effects. Some relevance theory scholars suggest that metaphors should require additional cognitive effort to be understood, and that in return they yield more cognitive effects than does literal speech. Others claim that metaphors may be understood quickly, as soon as people infer enough effects for the speaker's utterance to meet their expectation of optimal relevance. Our analysis of the experimental evidence suggests that there is no systematic relationship between cognitive effort and cognitive effects in metaphor comprehension. We conclude that relevance theory need not make any general predictions about the effort needed to comprehend metaphors. Nevertheless, relevance theory is consistent with many of the findings in psycholinguistics on metaphor understanding, and can account for aspects of metaphor understanding that no other theory can explain. (shrink)

The Genesis of Living Forms represents the first English-language translation of a key work by Raymond Ruyer, an important yet neglected figure in the history of twentieth century French thought.

Society is at a crossroads. Interconnected systems, radical transparency, and rapidly increasing sophistication in skills, communications, and technologies provide a unique context for fostering social innovation at a planetary scale. We argue that unprecedented rates of systemic social change are possible for co-creating a future where humans and all life can thrive. Yet, this requires innovation in the conceptions, practice, teaching, and researching of social innovation itself to reimagine what it is and can be. As a multidisciplinary group of academics, (...) practitioners, and educators, we integrate our perspectives on social innovation and humanistic management to suggest the notion of systemic social innovation. We introduce the concept of “transformative collaboration” as central to facilitating systemic social innovation and propose a multilevel model for accelerating systems change. We then develop an integrated framework for conceptualizing systemic social innovation. Four levels of social impact are identified, and these levels are bracketed with a call for transforming individual consciousness at the micro level and new collective mindsets at the macro level. Blooom is presented as a case study to illustrate transformative collaboration, demonstrate the role of mindset shift in practice, and introduce four key ingredients to systemic social innovation. Finally, a call to action is issued for social innovation practice, teaching, and research. Most importantly, we seek to inspire and accelerate systemic social innovation that enables the flourishing of every human being and all life on earth. (shrink)

object an item which does not have a position in space and time but which exists. (Philosophers have nominated such things as numbers, sets, and propositions to this category. The need to posit such entities has been discussed and disputed for at least 2400 years.).

This book reviews the work of prominent psychologists and philosophers on conditional reasoning. It provides empirical research on how people deal with conditional arguments and examines how conditional statements are used and interpreted in everyday communication.

ABSTRACT In the ‘Cook Ding cutting up an ox’ parable, Zhuangzi advanced a doctrine on craft and its relationship with Dao. With reference to Merleau-Ponty’s philosophy in conjunction with an analysis of Zhuangzi’s epistemological position, we argue that Zhuangzi understood craft as involving the supersession of the cognitive. In craft, the relationship between human and world is non-cognitive and ‘pre-objective’, the living of this kind of relationship gives rise to a non-cognitive ‘practical sense’ which enables the craftsman’s movements to spontaneously (...) constitute wuwei. Zhuangzi’s ideal is that this kind of relationship is generalized to life as a whole, thereby enabling human actions to spontaneously constitute wuwei generally. This is why he stipulated ‘doing away with knowing’ as a self-cultivation technique required for attaining Dao. Thus, craft constitutes an embodiment of Dao in the double-sense of wuwei and the non-cognitive and ‘pre-objective’ relationship between human and world which enables wuwei. (shrink)

In this study meal sharing is used as a way of quantifying food transfers between households. Traditional food-sharing studies measure the flow of resources between households. Meal sharing, in contrast, measures food consumption acts according to whether one is a host or a guest in the household as well as the movement of people between households in the context of food consumption. Our goal is to test a number of evolutionary models of food transfers, but first we argue that before (...) one tests models of who should receive food one must understand the adaptiveness of food transfers. For the Ye’kwana, economies of scale in food processing and preparation appear to set the stage for the utility of meal sharing. Evolutionary models of meal sharing, such as kin selection and reciprocal altruism, are evaluated along with non-evolutionary models, such as egalitarian exchange and residential propinquity. In addition, a modified measure of exchange balance—proportional balance—is developed. Reciprocal altruism is shown to be the strongest predictor of exchange intensity and balance. (shrink)

This book by leading international scholars in the fields of history, philosophy and politics restores the subject to a place at the very centre of political theory and practice.