Now that the usage and meaning of urban spaces have been dramatically challenged by the global pandemic, several debates and reflections are going on around the manner in which cities – both as concerns the public and the private spaces – have been designed. The article observes how “urban-human face” representations have served different models of urbanity across times and cultures. Using a framework deriving from semiotics of culture, according to which the city represents a model of the world, the (...) article attempts to interpret how portraits of faces have been modelling the city through different urban faciality mechanisms. The focus is on a sample of what we call ‘urban-human faces’, ranging from Soviet propaganda posters to the digital #selfiecity project. The expression refers to series of representations that bring together the city and the face. It can be argued that both the city and the face, produced at a specific historical and cultural moment, with their figurative and plastic elements, deploy the struggle for the city ownership and authorship. Nonetheless, the commensurability of the city and the face can be just based on the fact that both semiotic configurations represent an excess with the help of cartographic reproduction (the city) and the portrait (the face), respectively. A city can be represented by a face to the extent to which it is also multifaceted as a polylogue. On the basis of such instable commensurability, the article will ultimately attempt to bring together the semiotics of the face and the semiotics of the city. (shrink)

resumo: Este artigo é uma introdução geral ao pensamento de Bernard Stiegler em torno da relação entre técnica e humano. Stiegler desconstroi a tradição filosófica que costumava separar technê e episteme com um enfoque histórico e materialista, a fim de provar como é impossível pensar a humanidade sem a técnica. Portanto, a relação não é de oposição, como a tradicional metafísica do espírito defende, mas composição, do modo como defendem Gilbert Simondon, Jacques Derrida, Andre Leroi-Gourhan e Gilles Deleuze. abstract: This (...) paper is a general introduction to Bernard Stiegler's thinking about the relation between technique and human. Stiegler deconstructs the philosophical tradition that used to separate teckhnê and episteme with a historical and materialist approach in order to prove how it is impossible to think humanity without technique. Therefore, the relation is not one of opposition, like the traditional metaphysics of spirit defends, but one of composition, as thinkers like Gilbert Simondon, Jacques Derrida, Andre Leroi-Gourhan and Gilles Deleuze defend. (shrink)

Higher education has not been spared from the effects of the disruptive aspects of technology. MOOCs, teach bots, virtual learning platforms, and Wikipedia are among technics marking a digi...

Over the past thirty years, academic debate over pornography in the discourses of feminism and cultural studies has foundered on questions of the performative and of the word's definition. In the polylogue of Droit de regards, pornography is defined as la mise en vente that is taking place in the act of exegesis in progress. (Wills's idiomatic English translation includes an ‘it’ that is absent in the French original). The definition in Droit de regards alludes to the word's etymology (writing (...) by or about prostitutes) but leaves the referent of the ‘sale’ suspended. Pornography as la mise en vente boldly restates the necessary iterability of the sign and anticipates two of Derrida's late arguments: that there is no ‘the’ body and that performatives may be powerless. Deriving a definition of pornography from a truncated etymology exemplifies the prosthesis of origin and challenges other critical discourses to explain how pornography can be understood as anything more than ‘putting (it) up for sale’. (shrink)

Despite their strong spatial connotations, nearness, remoteness and distance are terms discussed in Martin Heidegger in connection to technology, interpretation, difference and lived time. In this paper, I investigate the nature of nearness, the possibility of its elimination and the meaning of such contingency via Bernard Stiegler's critique. In order to do this, I look into the nature of interpretation as a process of time-synthesis that brings the world near and is conditioned by technology. At the same time, I give (...) special attention to childhood as a unique but telling stage of this process. Furthermore, I look into technologies of nearness, now instantiated as digital technologies, and interpret them as processes that challenge the very notion they appear to promote, that is nearness and difference. Finally, I discuss these technologies in connection to education's possible response and impossible responsibility. Education is discussed as a technology of nearness that forms the child and their interp.. (shrink)

This article examines the role of the alien as the ultimate outsider and considers the challenges it poses to feminist theory. I argue that these challenges are based on the need to continue developing an ethics of relationality in which neither love nor relationality itself is deemed to be the answer; on rethinking agency and ontology in terms of becoming and the limitations of becoming; on a critique of representationalism which limits us to figuring the alien in rather than as (...) feminist theory and thereby invokes the archetypal story in which alien and human, monster and human switch sides; and finally on reconsidering modes of communication that resonate with their theme and emphasise the performativity, conceptual risk taking and creativity that might enable feminist theory itself to become alien again. (shrink)

Does a Postal Principle, a principle of destinerrance, hold true for computer mediated communication (CMC)? Perhaps. However, the question is not one concerning technology. Is it rather the case that we must ask, after Derrida, after all, whether destinerrance ever held true, as a principle? This paper considers the prospect that the Postal Principle was, in principle, or as a principle, an expression of a truth value from something that can not in fact, be held at all: the ghost in (...) the machine. Drawing on a phenomenology of computer practice, the paper argues that there is greater explanatory value to be found in Derrida's more recent comments on the relative exteriority of the technological apparatus (in Archive Fever and elsewhere), framing an understanding of the human body as partes extra partes. Yet it is demonstrated here that this same framing was already in place from the moment that the principle of destinerrance was first articulated, and that a subsequent technical turn in Derrida's work merely extends a framework already set in place in the earlier work (in The Post Card, for example). It is argued, then, that in articulating a Postal Principle for the purpose of guaranteeing its failure, Derrida had calculated the future trajectory – and had built the logic of the calculation and of the ‘jet’ words, as he calls them, into this trajectory – of what I call the ‘fantasy of the disembodied virtualm’ through which users of CMC project themselves into the archive of archives that the internet was bound to become. (shrink)

In the face of the ever-growing effect the actions of the present may have upon future people, most conspicuously around climate change, democracy has been accused, with good justification, of a presentist bias: of systemically favouring the presently living. By contrast, this paper will argue that the intimate relation, both quasi-ontological and normative, that Derrida's work establishes between temporality and justice insists upon another, more future-regarding aspect of democracy. We can get at this aspect by arguing for two consequences of (...) the deconstructive affirmation of sur-vivre, of the alterity of death in life. Firstly, justice is not first of all justice for the living, but intergenerational from the start. This is so because no generation coincides with itself; rather, it dies and is reborn at every moment, and so – and this is the second consequence – consists in taking turns. Affirming life as living-on means affirming that it involves exchanging life's stations, as the young become the old, and the unborn become the dead. In this sense, the justice of living-on, I will argue, shares an essential feature with democracy, whose principle of exchanging the rulers with the ruled led Derrida to characterize it in terms of the wheel. Democracy consists in the principled assent to power changing hands, a switchover life demands of every generation at every turn. This assent further requires an acceptance of the gift of inheritance without which no life can survive. But as the gift can also never be fully acknowledged or appropriated, it must be passed on to the indefinite, unknown future, in a turning that is the time of life. (shrink)

The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah Arendt’s (...) opposition between the ancient concept of history being based on praxis and the modern concept of history as “fabrication” (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the “ideal spectator”, just as the “ideal reader” for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references. (shrink)

I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, (...) to demonstrate how Malick's creative process consistently tends towards an ethos of poverty. To further pattern and illuminate the ecological stakes of this Emersonian stance, I draw on the complementary framework of second-order systems theory, and in particular, on Niklas Luhmann's concept of simultaneity. In so doing, I outline the layered nature of Malick's cinematic praxis – a doubled Emersonian receptivity which not only invites defamiliarizing depictions of warfare and the nonhuman, but also welcomes, and toys with, the otherness haunting technical images and human cognition. As such, The Thin Red Line, and its immediate counterparts, perform the ecological work of reframing the conditions of wonder, asking us to marvel not at what we have seen, but what we haven’t. (shrink)

In this article, I explore what I call the persecutory trope – which underscores the alterity of the phantom and its relentless haunting and spectral oppression of the protagonists – in recent American ghost films, connecting it to the ethical thought of the continental philosophers, Emmanuel Levinas and Jacques Derrida. Films like The Ring, The Grudge, It Follows, and Sinister depict terrifying spectral antagonists whose relentless persecution of the protagonists often defies comprehension and narrative closure. I suggest that these films (...) comprise a specific supernatural subgenre due to the particular way in which their specters haunt the victims. The relentlessness of the spectral assailant, and the foreclosure of actions by which the specter is either expelled from or reintegrated into symbolic understanding of its victim, can be construed in terms of the ethical relationship between the other and the self in the work of Levinas and Derrida. Their focus on the moral agent's responsibility to an other, an obligation that the agent does not undertake voluntarily, entails the spectralization of ethical responsibility insofar as it does not rest on solid, evidential grounds. This article shows how the spectralization of the ethical resonates in recent American ghost films through the disruptive effects of the specter's haunting and responsive mourning enacted by protagonists. (shrink)

This paper asks the question of how we can situate the educational subject in what Luciano Floridi has defined as an ‘informational ontology’. It will suggest that Jacques Derrida and Bernard Stiegler offer paths toward rethinking the educational subject that lend themselves to an informational future, as well as speculating on how, with this knowledge, we can educate to best equip ourselves and others for our increasingly digital world. Jacques Derrida thought the concept of the subject was ‘indispensable’ as a (...) function but did not subscribe to or accept any particular theory of how a subject could be defined or developed because it was always situated in and as a context. Following Derrida, Bernard Stiegler explains in Technics and Time: 1 that ‘the relation binding the “who” and the “what” is invention’. As such, the separation between self and world can be seen as artificial, including if this world is perceived wholly or partly as technological, digital or informational. If this is the case, a responsibility is placed on the educator and their part in ‘inventing’ this distinction for future generations. How this invention of the educational subject is negotiated is therefore one the many philosophical tasks for digital pedagogy. (shrink)

This thesis investigates a theoretical response to the question of what constitutes the political implications of the 2008 Global Financial Crisis. This thesis, working within the tradition of critical and cultural theory, undertakes a sustained engagement with the works of Jacques Derrida to theorise the traditions, norms, and practices that inform a response to an event such as the crisis of 2008. This thesis works with his proposals that: the spectre of its limitations haunts politics; that this has led to (...) the ‘deconstruction’ of the meaning of politics through complex textual frameworks; and that this dynamic leads to a tension between the arrival of new political possibilities on the one hand and new forms of political sovereignty on the other. After examining the significance of Derrida’s approach and secondary literature debating its interpretation, this thesis deconstructs the political implications of the crisis from politics in the traditional sense of the nationstate, the textual politics of scholarship, and finally the politics of the media, the domain, I argue, that incorporates the most discrete and sophisticated forms of sovereign decision-making. Finally, this thesis opens up its findings to secondary literature that suggest contrasting arguments. (shrink)

This study is an intervention in postcolonial theorising through a critique of technologies of representation. It examines the effects of technologically-mediated representation in a postcolonial condition that the Philippines has exemplified. New media technologies are mechanisms of representations that embody the logic of spectrality presented in Jacques Derrida’s later work. Spectrality, which brings doubts, ephemerality, and instability to dominant discourses and modes of representation, provides a chance for change.Spectres are effects of technologically-mediated representation that articulate the infinite demand for justice (...) under conditions of enduring inequality. As quasi-transcendental elements of deconstruction, spectres are not reducible to either human or technical intervention; they express the relation of humans to technologies, in which representation is central to the mediation of political authority. This technological representation is the condition of what Derrida calls “iteration,” or the transformation of hegemonic authority through the very repetition of its fundamental terms of identification. The examination of emancipatory new media technologies in a postcolonial condition is inspired by the work of Jacques Derrida, in his deconstructive reading of Marx’s spectres. However, the writings of Habermas and Adorno have offered an implicit appraisal of the ontology of spectres. Habermas’s theory of the public sphere and Adorno’s negative dialectics are discourses that unwittingly solicit spectres. The account of the postcolonial condition in the Philippines works through the questions of universality, subalternity, and the right to theory that are raised by the project of Western critical theory. (shrink)