Reflecting teams play a significant role in family therapy; they broaden perspectives on how family dynamics or problems can be understood. However, what happens when a reflector does not feel compassionate towards a particular family member? There is a risk of biased reflections: families can pick up negative signals, putting the therapeutic relationship at risk. In this paper, I explore how I was supported to explore my lack of compassion for Dad ‘John’. It was only after reaching out to an (...) experienced supervisor who undertook an ‘internalised other’ interview with me – where I played the role of Dad – did my compassion increase. From an ethics of care perspective, I suggest that social professionals need to explore ways to increase empathy and compassion for clients they dislike. If they do not, they are open to valid criticism that they are behaving unethically as professionals. Therefore, there is a need to address deficits in empathy and compassion to sustain ethical social work practices. (shrink)

Responsibility is a moral quality of caring that is central to child health policies. In contemporary UK these policies are based on behavioural psychology and underpinned by individualism, an ideology central to neoliberal governance. Amid the complexities of “obesity” and inequalities, there is a multi-layered stigmatisation of parents as moral associates. Few studies consider the lived realities of food policy processes from the standpoint of class. This critical qualitative research draws on theorists who explain processes of power and class: Foucault, (...) Gramsci, Bourdieu and Marx. Its objectives are: (a) to understand the lived experience of parents as they interact with food policy; (b) to explore how parents resist stigmatisation; and (c) to reflect on implications for policy and practice. Methods: Using purposive sampling, 31 ethnographically-informed interviews were carried out in a London borough, with policy actors: policymakers, implementers and parents as policy recipients, including 12 working-class mothers. Results: A core theme of “responsibilities” emerged with four interconnecting sub-processes that provide insight into how stigmatisation and resistance evolve through policy. Discussion: As have others, this study reveals the idea of responsibility as fundamental to the processes of soft power. Child health is a priority for participants and a “ruling idea”. The diffusion of responsibility throughout policy leads to confusion about where it lies. New subjectivities are formed in line with ideas of governmentality. Parents engage with policy at multiple sites that elicit symbolic violence, and stigma sows social divisions. Against this background, working-class parents are left in a state of cognitive dissonance between being made responsible (responsibilisation), and feeling responsible (self-blaming) for their children’s weight while lacking the material resources to provide an optimal nutritious diet. Resistance is interwoven and is essentially found in parents’ policy alternatives that diverge from UK government policy. Conclusion: Critical qualitative research using multiple theorists is valuable in understanding how parents interact with policy in a complex social world. With UK policy failing, useful insights are provided into how involving parents in policymaking might determine a meaningful collective responsibility, with a political ethic of care and unity between parents that would advance health equity. (shrink)

In this essay I will put forward an account of the emotion of shame that draws from Bernard Williams’ groundbreaking work on Shame and Necessity. The main novelty will be a distinction between two senses of shame, “basic shame” and “complex shame”. Basic shame is related to what Williams refers to as a “loss of power” in relation to others that can be real or imaginary spectators and is a sense of diminishment towards those others. Complex shame, in turn, appears (...) when this diminishment is felt in relation to an “internalised other” that embodies the values she recognises as her own as well as other values she respects. Borrowing a page from Cheshire Calhoun, I argue that many accounts of shame face what I call the “challenge of unrespected judgments”: people are vulnerable to shame even when they do not endorse or respect the judgments of those shaming them. I claim that the proposed Williamsian account of the emotion can dissolve the challenge, because for one to feel basic shame there is no need for any further attitude of the ashamed person towards the shamer besides a sense of diminishment caused by the perception of loss of power. In addition to that, oppression can influence the internalised other of marginalised people in a way that makes them vulnerable to complex shame. I will conclude with some brief remarks about how moral education in the Aristotelian sense can help us to deal with the morally problematic instances of shame. (shrink)

Michel Foucault has become famous for a series of books that have permanently altered our understanding of many institutions of Western society. He analyzed mental institutions in the remarkable Madness and Civilization; hospitals in The Birth of the Clinic; prisons in Discipline and Punish; and schools and families in The History of Sexuality. But the general reader as well as the specialist is apt to miss the consistent purposes that lay behind these difficult individual studies, thus losing sight of the (...) broad social vision and political aims that unified them. Now, in this superb set of essays and interviews, Foucault has provided a much-needed guide to Foucault. These pieces, ranging over the entire spectrum of his concerns, enabled Foucault, in his most intimate and accessible voice, to interpret the conclusions of his research in each area and to demonstrate the contribution of each to the magnificent -- and terrifying -- portrait of society that he was patiently compiling. For, as Foucault shows, what he was always describing was the nature of power in society; not the conventional treatment of power that concentrates on powerful individuals and repressive institutions, but the much more pervasive and insidious mechanisms by which power "reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning processes and everyday lives" Foucault's investigations of prisons, schools, barracks, hospitals, factories, cities, lodgings, families, and other organized forms of social life are each a segment of one of the most astonishing intellectual enterprises of all time -- and, as this book proves, one which possesses profound implications for understanding the social control of our bodies and our minds. (shrink)

An interview with Timothy Williamson on Modality and other matters. Williams is asked three main questions: the first about the difference between philosophical and non-philosophical knowledge, the second concerns the epistemology of modality, and the third is on the emerging metaphysical picture.

Politics, Philosophy, Culture contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

When I first contacted Jacques Rancière in March 2017, nearly three-and-a-half years before the completion of this interview, a few basic questions were growing heavy. Questions limited to current political climates, trending philosophical systems, specific literary works, designated historical shifts, or particular Rancièrean terms would be reluctantly put aside in pursuit of certain elemental distinctions that might better inform the rest. The original proposal was to work around such slippery paradoxes as resistance, and to readdress tangible material like the letter, (...) but the overall idea, communicated from the start, was to produce a sort of reintroduction to Rancière's thought, for myself and an intended... (shrink)

A unique selection of the most significant interviews given by Hannah Arendt, including the last she gave before her death in 1975. Some are published here in English for the first time. Arendt was one of the most important thinkers of her time, famous for her idea of "the banality of evil" which continues to provoke debate. This collection provides new and startling insight into Arendt's thoughts about Watergate and the nature of American politics, about totalitarianism and history, and her (...) own experiences as an emigre. Hannah Arendt: The Last Interview and Other Conversations is an extraordinary portrait of one of the twentieth century's boldest and most original thinkers. As well as Arendt's last interview with French journalist Roger Errera, the volume features an important interview from the early 60s with German journalist Gunter Gaus, in which the two discuss Arendt's childhood and her escape from Europe, and a conversation with acclaimed historian of the Nazi period, Joachim Fest, as well as other exchanges. These interviews show Arendt in vigorous intellectual form, taking up the issues of her day with energy and wit. She offers comments on the nature of American politics, on Watergate and the Pentagon Papers, on Israel; remembers her youth and her early experience of anti-Semitism, and then the swift rise of the Hitler; debates questions of state power and discusses her own processes of thinking and writing. Hers is an intelligence that never rests, that demands always of her interlocutors, and her readers, that they think critically. As she puts it in her last interview, just six months before her death at the age of 69, "there are no dangerous thoughts, for the simple reason that thinking itself is such a dangerous enterprise.". (shrink)

____Politics, Philosophy, Culture__ contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

BackgroundDefensive practice occurs when physicians provide services, such as tests, treatments and referrals, mainly to reduce their perceived legal or reputational risks, rather than to advance patient care. This behaviour is counter to physicians’ ethical responsibilities, yet is widely reported in surveys of doctors in various countries. There is a lack of qualitative research on the drivers of defensive practice, which is needed to inform strategies to prevent this ethically problematic behaviour.MethodsA qualitative interview study investigated the views and experiences of (...) physicians in Australia on defensive practice and its contribution to low value care. Interviewees were recruited based on interest in medico-legal issues or experience in a health service involved in ‘Choosing Wisely’ initiatives. Semi-structured interviews averaged 60 min in length. Data were coded using the Theoretical Domains Framework, which encapsulates theories of behaviour and behaviour change.ResultsAll participants (n = 17) perceived defensive practice as a problem and a contributor to low value care. Behavioural drivers of defensive practice spanned seven domains in the TDF: knowledge, focused on inadequate knowledge of the law and the risks of low value care; skills, emphasising patient communication and clinical decision-making skills; professional role and identity, particularly clinicians’ perception of patient expectations and concern for their professional reputation; beliefs about consequences, especially perceptions of the beneficial and harmful consequences of defensive practice; environmental context and resources, including processes for handling patient complaints; social influences, focused on group norms that encourage or discourage defensive behaviour; and emotions, especially fear of missing a diagnosis. Overall, defensive practice is motivated by physicians’ desire to avoid criticism or scrutiny from a range of sources, and censure from their professional peers can be a more potent driver than perceived legal consequences.ConclusionsThe findings call for strengthening knowledge and skills, for example, to improve clinicians’ understanding of the law and their awareness of the risks of low value care and using effective communication strategies with patients. Importantly, supportive cultures of practice and organisational environments are needed to create conditions in which clinicians feel confident in avoiding defensive practice and other forms of low value care. (shrink)

____Politics, Philosophy, Culture__ contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

____Politics, Philosophy, Culture__ contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

This interview deals with the major themes in the work of Ruth Millikan. Her most fundamental idea is that the intentionality of inner and outer representations can be understood in analogy to biological functions. Another innovative feature is the view that thought and language stand parallel to each other. Thirdly, the basic ideas concerning the ontology and the epistemology of concepts are explained. Millikan aims at clarifying her position by contrasting it with Dretske, Fodor, Sellars, and Brandom. Finally, the (...) interview addresses topics that pose problems for her account as well as questions she does not treat in her work. (shrink)

Traditional martial arts continue to be interesting and inspiring to many people around the globe. Some of their contemporary adaptations attract enthusiasts for whom they are especially important. In this article, the author bases his observations on his own long-term participation. The analysis takes into account the influence of the perspectives of Jigoro Kano and several other creators of modern varieties of Japanese budo. It can be concluded that regular, even daily, practice—cultivating martial arts and internalizing its values—co-creates the (...) lifestyle of instructors and advanced students. (shrink)

In broadcast news interviews, interviewees will occasionally address the interviewer by name. As a method of establishing the directionality of talk, address terms are redundant in this institutional context because the normative question/answer activity structure and associated participation framework make the direction of address transparent and knowable in advance. But address terms can be deployed in the service of a variety of actions beyond addressing per se. Some of these involve disaligning actions such as topic shifts, non-conforming responses, and disagreements. (...) Others involve the presentation of views as particularly significant or sincere. Address terms are thus a resource for managing certain expressive properties of talk, as well as its disalignment from prior talk. (shrink)

In this interview, C. P. Goodman invites British Polanyi scholar Richard T. Allen to reflect on his interest in Polanyi’s philosophical ideas and share what he believes is valuable in his thought.

Gender dysphoria (GD) is marked by an incongruence between a person’s biological sex at birth, and their felt gender (or gender identity). There is continuing debate regarding the benefits and drawbacks of physiological treatment of GD in children, a pathway, beginning with endocrine treatment to suppress puberty. Currently, the main alternative to physiological treatment consists of the so-called “wait-and-see” approach, which often includes counseling or other psychotherapeutic treatment. In this paper, we argue in favor of a “third pathway” for (...) the diagnosis and treatment of GD in youths. To make our case, we draw on a recent development in bioethics: the phenomenological approach. Scholars such as Slatman and Svenaeus have argued that the extent to which the body can (or should be) manipulated or reconstructed through medical intervention is not only determined by consideration of ethical frameworks and social and legal norms. Rather, we must also take account of patients’ personal experience of their body, the personal and social values associated with it, and their understanding of its situation in their life: their narrative identities. We apply this phenomenological approach to medicine and nursing to the diagnosis and treatment of GD in youth. In particular, we discuss Zahavi and Martiny’s conception of the phenomenological interview, in order to show that narrative techniques can assist in the process of gender identification and in the treatment of youth presenting with GD. We focus on two case studies that highlight the relevance of a narrative-based interview in relations between patients, HCPs, and family, to expose the influence of social ideologies on how young people presenting with GD experience their bodies and gender. (shrink)

This paper is published as part of special issue on the theme of ‘justice without retribution’. Any attempt to consider how justice may be achieved without retribution has to begin with a consideration of what we mean by justice. The most powerful pleas for justice usually come from those who feel that they have been harmed by the wrongful acts of others. This paper will explore this intuition about justice and will argue that it arises from the central importance of (...) reciprocity, in the form of equity, balance and fairness, in human relationships. This is expressed in our image of justice, one of whose core symbols is a set of scales. I will use a clinical case to illustrate what can happen when criminal harm is not followed by any form of restitution. In this case, the punitive impulse was internalised in the victim and turned against herself in the form of deliberate self harm and, ultimately, death by suicide. I will argue that human relationships largely consist of reciprocal acts of good or harm and that we constantly strive for a balanced reciprocity in our relationships with others. This theme has been played out throughout human history in personal relationships, social customs, legal systems, religion and culture. It is also seen in higher primates. When someone is a victim of wrongful harm, there is a need to take measures to restore the balance which has been lost. I will attempt to draw a distinction between retributivism as the term is usually understood and the application of the principle of reciprocity in criminal justice. This distinction is one that has found expression in what has become known as ‘restorative justice’ as opposed to conventional justice. There are two cardinal features of restorative justice in this context. The first is that it brings offender and victim into a relationship with the aim of repairing the harm that has been caused. The second is that it gives the offender the opportunity to give something back to his victim. I will conclude that our responses to criminal wrong-doing should be based on restorative principles and that punishment can sometimes be part of the process by which moral harm is made good. (shrink)

Mock interviews with Kant, Hegel, Fichte, Schelling, Reinhold, Jacobi, Schlegel, and a letter from Schopenhauer.

In lieu of an abstract, here is a brief excerpt of the content:Phenomenological Interviews and Tourette'sThe authors report no conflicts of interest.We appreciate the responses from the two clinicians, Efron and Mathieson. We agree with their reminder about the holistic nature of clinician's engagement (mood, sociality, and work life) and with their emphasis on patient-reported outcome measures, although this is not quite what we did in our interviews. As has recently been recognized in section 24 of the Victorian Mental Health (...) and Well-being Act (to provide a local Australian example), patients and caregivers' "lived experience makes them valuable leaders and active partners in the mental health and wellbeing service system."1In this paper, however, our aim was both more modest and immodest: modest, in that we aimed to work with those "leaders and active partners" to generate a more adequate account of lived experience in concert with behavioral symptomatology; immodest, in that we wondered how the lived experience of Tourette syndrome (TS) aligned (or not) with some of the commonly ascribed features of the condition. Although phenomenology as a discipline does not own lived experience, of course, it is more systematically treated in this tradition, starting with elaborations of Erlebnis.Efron and Mathieson note that older patients are more likely to describe urges or premonitory urges (PUs). This raises the priming question: Has greater exposure to and involvement in medical concepts and treatments transformed the nature of their self-report, or has it provided them with more phenomenological skills, enabling them to pick out discrete parts of experience? Or perhaps they have just been exposed more frequently to the experience over time? We address some related issues below, in our reply to Fernandez, where we outline our interview techniques more fully.They end by noting that the aim of comprehensive behavioral intervention for tics is to become attentive to PUs to better block tics. This is complex and understudied. In principle, becoming aware of something cognitively and experientially can foreground or even perhaps induce that experience. Conversely, from the TS scholarship, we know that attending to urges in certain ways (e.g., via acceptance training) can also reduce perceived urge frequency and intensity (see Gev et al., 2016). We would welcome further work on this link between attention and experience in TS. [End Page 49]Response to FernandezBecause our paper was partly framed around Fernandez' own work on phenomenological psychopathology, we welcome his invitation to provide further "inspiration and guidance" for other phenomenological researchers conducting empirical studies, who may also be dealing with the challenge posed by "narrative habits." When an interviewee uses well-worn medicalized terms to describe their experience, it is not clear whether these descriptions genuinely reveal or rather occlude the experience in question. There are sometimes, perhaps often, second-person phenomenological 'tells' regarding interviewees genuinely re-evoking an experience, but for interviewers it still raises the question of how to prompt alternative and potentially more accurate descriptions of experience.Because of this challenge, we purposely did not use the term "urge" or "premonitory urge" (PU) in our interview questions. Instead, we asked about (and used the broader term of) "experiences" that may occur prior, during, or after ticcing, without assuming that there are such experiences in the first place. We guided interviewees to evoke the memory of a specific, singular tic event (a tic token; see Curtis-Wendlandt 2020, 2023). Once a memory of such an event had been identified, we asked interviewees the following three lead questions:1. What, if anything, did you experience during this tic?2. What, if anything, did you experience before this tic?3. What, if anything did you experience after this tic?The temporal framing of these questions counters common trends and assumptions in the scholarship, which has focused heavily on pre-tic experiences, with little attention given to post-tic experiences (reduced to notions of "relief" and barely investigated), and even less to experiential explorations of the tic itself. Our catalogue of supporting questions sought to elicit fine-grained descriptions of evoked/recalled experiences along sensory and cognitive-affective dimensions:•. Did you see anything before, during, or after this tic? If so, what did you see?•. Did you hear anything... (shrink)

This interview addresses Andreas Reckwitz’s main work, A Society of Singularities, but puts it in relation to his earlier and later writings. It starts with the strong and broad reception of this work in Germany. Next, it turns to how his understanding of the transformation of the social logics of modernity is related to other sociological understandings. In this way, the crucial distinctions of his work between the general and the particular, between formal rationalisation and culturalisation, are thematised. The (...) next part addresses Reckwitz’s Foucault-inspired concept of critique and his understanding of the relation between theoretical and empirical work. The interview then goes on to the transformation of class structure, which is understood in terms of a culturalisation of inequality. The interview ends with a section about the kind of sufferings and problems that are typical of the present age, and how they might affect social transformation. (shrink)

On this episode of The Owl, Lauren Ware sits down with host Ian Olasov to talk about how fear and other emotions shape our understanding of risk, about what fear is and when it's rational, and about why Halloween is a thing.

In this interview, Luc Boltanski and Arnaud Esquerre introduce their book Enrichment and core concepts for the analysis of new developments in contemporary capitalism. The study focuses the analysis of the enrichment economy, which is grasped as a new form to explore and exploit ‘the past’ as a source for capitalist profits. The interview presents forms of valuation, which are more general principles of how value and prices can be ascribed to goods. The approach of Boltanski and Esquerre assumes an (...) organized plurality of such forms of valuation. Also, the two sociologists stress the importance of discourses of valuation, which bring these forms of valuation into operation. As the interview makes evident, one major aim is to present a new perspective on the relationship between values, prices, and practices how prices are legitimatized or criticized on the basis of discourses of valuation. The interview situates Enrichment in the context of other contemporary sociological works, which focus on the economic core issue of value and valuation. The book can also be recognized as a proposal to reconcile structuralism and pragmatism in sociology. At the end of the interview, the more recent outcomes of the continuing collaborative work of Boltanski and Esquerre after Enrichment are discussed. (shrink)

The following text is an edited version of a recent interview with Sydney Brenner who has been at the forefront of many developments in molecular biology since the 1950s. It provides a participant’s view on current issues in the history and epistemology of molecular biology. The main issue raised by Brenner regards the relation of molecular biology to the new field of systems biology. Brenner defends the original programme of molecular biology—the molecular explanation of living processes—that in his view has (...) yet to be completed. The programme of systems biology in contrast he views as either trivial or as not achievable since it purports to deal with inverse problems that are impossible to solve in complex living systems. Other issues covered in the conversation concern the impact of the human genome sequencing project, the commercial turn in molecular biology and the contested disciplinary status of the science. (shrink)

In this interview, Brian Massumi discusses the possibility of a collective practice of experimentation beyond the infernal alternatives between the state authoritarianism and a narrow and exclusionary notion of freedom based on the individual, reinforced by the Covid-19 pandemic. This requires diagnosing the mix of forces at play, in other words, examining the interlinkages of various modes of power. Analysis of the ecology of powers then invokes a positive project that is inventing an aesthetics of the earth. An aesthetics (...) of the earth is a call for a more-than-human relational ethics, which takes place in intricate co-composition with the earth and its emergent strata of all kinds: viral, bacterial, vegetal, animal, human, technological. Thus, from the ecology of powers to an aesthetics of the earth, Massumi proposes a politics of potential that is diagnostic rather than prescriptive yet encourages experimentation towards a postcapitalist future at this critical juncture of our epoch. (shrink)

Iris Marion Young is Professor of Political Science at the University of Chicago.She is affiliated with the Gender Studies Center and the Human Rights Program.Her research interests are in contemporary political theory, feminist social theory and normative analysis of public policy.Her books include Justice and the Politics of Difference , Throwing Like a Girl and Other Essays in Feminist Philosophy and Social Theory , Intersecting Voices: dilemmas of gender, political philosophy, and policy and Inclusion and Democracy .Her writings have (...) been translated into several languages, including German, Italian, Spanish and Swedish.She has lectured widely in North American, Europe, Australia and South Africa.Professor Young's teaching interests range broadly, including contemporary theories of justice, democracy and difference; feminist political theory; continental political theory including Foucault and Habermas; ethics and international affairs; gender, race and public policy.Professor Young holds a PhD in philosophy from the Pennsylvania State University, 1974.Before coming to the University of Chicago she taught political theory for nine years in the Graduate School of Public and International Affairs at the University of Pittsburgh and before then taught philosophy at several institutions, including the Worchester Polytechnic Institute and Miami University.During the summer term of 1995, Professor Young was a Visiting Professor of Philosophy at the Johann Wolfgang Goethe University in Frankfurt Germany.Dr Young has held a visiting Fellowship at several universities around the world including Princeton University, the Institute for Human Science in Vienna, Australian National University and the Human Sciences Research Council of South Africa.Her work continues to receive world wide acknowledgement and recognition. (shrink)

In this interview the philosopher Luce Irigaray discusses her book Through Vegetal Being. In response to questions, she distinguishes the human relationship to the environment and to other human beings. She describes how we must change our manner of relating to nature, beginning with our own: to learning how to coexist as a natural being among others instead of dominating the natural world. We must cultivate our instincts, free ourselves from traditions and elaborate a new education and sociocultural order (...) and it is then that we will perceive that we cannot share with plants and animals all that we can share with another human being. (shrink)

Jean Baudrillard is one of the most revered philosophers of the past century, and his work has helped define how we think about the post-modern. In this fascinating book of interviews conducted with Francois L'Yvonnet, Baudrillard is on sparkling form and explores his life in terms of his educational, political and literary experiences, as well as reflecting on his intellectual genesis and his position as outsider in the field of great French thinkers. Perhaps most interestingly, Baudrillard discusses his life's work (...) in relationship to his contemporaries: thinkers such as Bataille and the Situationists, Barthes, Lyotard, and Deleuze, amongst others. _Fragments: Interviews with Jean Baudrillard _will be essential reading for any scholar of Baudrillard, but will also prove an attractive and informative starting point for any student trying to get to grips with his work for the first time. (shrink)

Research in phenomenology has benefitted from using exceptional cases from pathology and expertise. But exactly how are we to generate and apply knowledge from such cases to the phenomenological domain? As researchers of cerebral palsy and musical absorption, we together answer the how question by pointing to the resource of the qualitative interview. Using the qualitative interview is a direct response to Varela’s call for better pragmatics in the methodology of phenomenology and cognitive science and Gallagher’s suggestion for phenomenology to (...) develop its methodology and outsource its tasks. We agree with their proposals, but want to develop them further by discussing and proposing a general framework that can integrate research paradigms of the well-established disciplines of phenomenological philosophy and qualitative science. We give this the working title, a “phenomenological interview”. First we describe the what of the interview, that is the nature of the interview in which one encounters another subject and generates knowledge of a given experience together with this other subject. In the second part, we qualify why it is worthwhile making the time-consuming effort to engage in a phenomenological interview. In the third and fourth parts, we in general terms discuss how to conduct the interview and the subsequent phenomenological analysis, by discussing the pragmatics of Vermersch’s and Petitmengin’s “Explicitation Interview”. (shrink)

In this interview, Daniel Little provides an overview of his life and work in academia. Among other things, he discusses an actor-centred approach to theory of social ontology. For Little, this approach complements the assumptions of critical realism, in that it accords full ontological importance to social structures, causal mechanisms, and enduring and influential normative systems. The approach casts doubt, however, on the idea of ‘strong emergence' of social structures, the idea that social structures have properties and causal powers (...) that cannot, in principle be explained by their constituents (social actors) and their relationships. Little’s approach to social ontology endorses instead the idea of relative explanatory autonomy. During the interview, many points of convergence become evident between this actor-centred approach to social ontology and the fundamental insights of critical realism. According to Little, analysis of social ontology also turns out to be especially relevant to philosophy of history. (shrink)

In his first interview to appear in English, Esposito answers a number of questions as they relate to his elaboration of an affirmative biopolitics. He suggests where his own understanding of biopolitics converges and diverges with other contemporary Italian thinkers working on biopolitics, namely Giorgio Agamben and Antonio Negri, and then offers a concise summary of his own work on immunity, especially as it emerges in his Bios: Biopolitics and Philosophy. He concludes the interview with a series of reflections (...) on the meaning of death and birth for Nazism in light of its perverted concept of biopolitics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imaginary Interview*Jillian WeiseQ:Are you disabled?A:It depends. I need context.Q:Are you rendered incapable?A:I am awake and sober.Q:Are you limited by parts of the body?A:My arms are not wings.Q:Are you entitled to certain rights?A:Yes, I am disabled.Q:The U.S. Government disagrees.A:You read the letter?Q:“Due to the subject’s advanced education, the subject is no longer disabled.”1A:It was a love letter. They could have written it better. I would’ve preferred something with a little (...) more feeling, such as: “Dear Jillian: We are breaking up. We saw you outside the building with the statue of the lion. We saw you trespass through the halls and take from the shelves a number of hardbacks and take from the woman with glasses her suggestions. You have been made too erudite, too learned. If you want to protest, if you want to continue our relationship, then un–educate yourself. It would be helpful if you worked at a factory or could not find work. It would be helpful for something inside you to hurt.”Q:You seem bothered by the letter from the government.A:No more bothered, I guess, than if the government sent a letter rescinding my name.Q:The name disability is important to you then?A:It is important. It is very, very important. No, it is not important. I hardly think of it. It vexes me and I need it and I should not say it that often. Today, for example, I said: You must not use the word disability too much in this interview. After all, you do not like the word, and you have named yourself cyborg, so there is no reason to use the word you already rejected. After that thought came the voice of the Director, who said, “When you use the word disability, people think accommodations, people think favors. Best not to use it.” And after that came the voice of a writing mentor: “I just don’t like the word disabled in this piece. Is there a way to write the piece without using the word?”Q:What is disability like?A:It is like crowding under an umbrella, except your head sticks out, and your hair gets wet, and there are no cabs. Plus, this is somebody else’s umbrella.Q:Respond to this symbol.A:That is where I park my car.Q:What do you have?A:I do not know. The doctors named the condition. They gave it a three–word, nine syllable Latin name. Now I go to other doctors and they say, “What do you have?” and I say the Latin name, and they say, “What?” and I repeat the name, and they say, “How do you spell it?” Also—and I think this is important—the prognosis for the condition reads, “No reported cases have survived past the age of two.” Therefore, I am either dead with the condition. Or I am alive with a different one. Or the medical dictionary is fiction.Q:What is the condition?A:I am a cyborg.Q:When did you begin calling yourself a cyborg?A:Rephrase the question. [End Page 219]Q:When did you become a cyborg?A:2007.Q:Where?A:I cannot say the name of the office. The prosthetist posted a photo of me online, and in the photo I am not wearing any pants. I am wearing the cyborg leg for the first time and without any pants. I am so embarrassed. I do not want you to find the photo online. This is before we knew each other. This is before we knew what we meant to each other.Q:I have to tell you: when I first saw you, I thought, “She looks like a woman who could be taken advantage of online.”A:Yes, that is the problem with having it physical. When it is physical, people make all kinds of assumptions. She needs help. She is lop–sided. She must be so, so sad. I thought of another definition: looked at, done to, and dissed... (shrink)

Michael Walzer is currently at the School of Social Science, Institute for Advanced Study, in Princeton, New Jersey. Professor Walzer has written Just and Unjust Wars; The Revolution of the Saints and has edited Toward A Global Civil Society. In this interview, he discusses some of the current concerns about education, political theory and the current state of the art of toleration, and acceptance and accommodation of different racial, ethnic, social and minority groups. He has published extensively and his work (...) has been translated in several other languages. In this interview, he responds to questions about his work, his writings and his current concerns. (shrink)

Eric Scerri is the world-leading expert on Periodic Table and was quite recently named the second-most influential academic in the field of chemistry over the last decade by Academic Influence. In this interview we discuss his main questions of interest in the philosophy of chemistry—the question of reduction of chemistry to physics and the dual sense of chemical element—in the context of his main study object, the periodic table of elements. Among other things, we touch upon the more specific (...) issues related to chemical classification, such as pair reversal, the placement and order of certain elements, the structure and shape of periodic table, etc. We also discuss the status of chemical kinds as a traditional epitome of ‘natural kinds’, the relevance of philosophy of chemistry for chemical science, the implications of ‘turn to practice’ for philosophy of chemistry, and many other issues. Finally, Eric Scerri also discusses his most recent book, ‘What is a Chemical Element?’, co-edited with Elena Ghibaudi and published by Oxford University Press in 2020. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Interviewed by Christian Sheppard about Richard Kearney’s book The God Who May Be (2001), and speaking also of Kearney’s On Stories (2002) and Strangers, Gods and Monsters (2002), David Tracy remarks on Kearney’s development of the possible as a major philosophical and theological category. Showing the importance of the idea of the infinite, he speaks of the need for a hermeneutical moment to follow the initial encounter, and of a call for general criteria of judgment of the Other. He (...) discusses, too, the dangers and the rewards of doing both theology and philosophy at the same time. To him the category of the Impossible enters into the possible and is not only positive but desired. In a conversation that ranges widely - Derrida and Levinas, Jean-Luc Marion, Angelus Silesius, Kierkegaard, Nicholas of Cusa, Heidegger and Ricoeur, and, in the call for plurality, William James - the two speakers discuss both poetic sensibility and the call for justice. Reflecting on fragmentation, Tracy speaks of the need to focus on suffering and the importance of attaining a sense of ‘the entire story, all of the metaphors’. (shrink)

‘We are before Dante’: In this interview, held via email in March 2020 amid the massive outbreak of the COVID-19 pandemic, Jean-Luc Nancy leads us on a brief but far-reaching foray through his thought. He succeeds in providing an overview of the subjects that he has raised since the beginning of his career as a philosopher, while maintaining a focus on their pertinence for what we are currently facing in the world today. He supplements his insight that ‘we are before (...) Dante’ with the equally remarkable conclusion: ‘Desire is what is born par excellence’. In between these two propositions, and in between the lines and words documented here – touching upon topics as diverse as the moai statues of Easter Island, the music of Schumann, Wagner, and techno, as well as the writing of Artaud, Proust, and Verlaine – we find an exciting, up-to-date treatment of the question of how to ‘deal with the world intellectually’ without, in doing so, participating in the modern claim to ‘master’ it. Instead, Nancy suggests, we ought to be attentive to what escapes us by its very principle, with philosophy, literature, and art serving as witnesses of what has always been absent from our mind, that is, the sensibility of meaning, in order to become aware that, since we are always already before and after birth, ‘we come from nowhere and everywhere’. This realization enables us to understand the political consequences that it has for our understanding of a world in metamorphosis, including for highly controversial issues such as colonialism, anti-Semitism, the far right, neo-liberalism, and other totalitarian forms that supposedly manifest a return of the myth, as well as its consequences for the insurmountability of Marx. (shrink)

This study aimed to analyse the contribution of the Sufi order in stemming religion-based violence as a form of the Sufis’ response to rampant violence, extremism and religious radicalism. This study used a qualitative method in which the data were obtained through interviews, observation and documentation. Then they were analysed by using an interactive model. This study was carried out in three Sufi communities of the Sufi order Qadariyah wan Naqshabandiyah (TQN) in Indonesia, namely in Suryalaya Islamic Boarding School, Futuhiyyah (...) Islamic Boarding School Mranggen and Darul Ulum Islamic Boarding School Jombang. The results of the study show that the three TQN orders have the concepts of dhikr and love, which are internalised in the act of Sufism. The Sufi order has the doctrines of love of God, mutual love, discourse of moderation and tolerance towards religion and other groups as the main instruments in the fight against religious radicalism. The resistance of the Sufis to religious radicalism shows that the Sufi order is cornered from attacks by formalist groups in religion. This fact reopens the historical archive of contradictions between the two major currents of Islamic thought and movement, Salafi versus Sufi. The counter-radicalism narrated by the Sufis of the three TQN communities represents their defensive attitude towards the aggressiveness of the textual and radical Salafis. Contribution: This article contributes to prevent and reduce the rise of religious radicalism in Indonesia. The doctrines of tanbih, mahabbah, tolerance and moderatism developed by the Sufis in the three TQN communities became a source of reference and inspiration for resistance to violence and religious radicalism. (shrink)

At The promotion of international exchange of ideas can immensely contribute to the enhancement of global peace and mutual understanding because it provides one community an opportunity to know and thereby respect to the thoughts and ideas, values and belief systems of others, as well pragmatically apply those ideas and values in different social and cultural locations. This is particularly important to the intellectuals of the non-western space because on the one hand, postcolonial theoretical orientation has taught us to resist (...) the strategic mindsets embedded in western systems of thought; on the other hand, we have a need to know and learn them not only to properly resist them but also to pay reverence to the humanistic contents and beauty of western humanities and toabsorb them in order to create and enrich our own humanities. (shrink)

This conversation between Laura Mulvey and Roberta Sassatelli offers a historical reconstruction of Mulvey’s work, from her famous essay ‘Visual Pleasure and Narrative Cinema’ to her most recent reflections on male gaze, film technology and visual culture. The conversation initially deals with the socio-cultural context in which the ‘Visual Pleasure...’ essay was produced by outlining a number of possible theoretical parallelisms with other scholars, from Foucault to Barthes to Goffman. Then, on the basis of Mulvey’s latest book, Death 24× (...) a Second, and of a variety of contemporary examples, the emphasis is on the relative shift in Mulvey’s work from gender to time and visual technology. Finally, the conversation focuses on the concept of ‘gendered scopic regime’ and the potential re-articulation of the male gaze through the technological re-direction and control of the visual. (shrink)

Interview with associate professor Iva Rincic feels like meeting a close-minded person on a very long journey. Meet and feel that you are “on the same page”. What is urban bioethics? How is it different from bioethics in general? What is this “Project on Bioethical Urban Life Standards: The City as the Basis for Ethics Life”? – are the main points laid down in the conversation. So, during the interview, you will find out that despite the fact that bioethics is (...) perceived as a modern version of biomedical ethics, originally it covers a much wider area of ​​interest. Bioethics implies moral obligations of people not only to each other, but also to everything living ). This is the science of survival ). If we see bioethics in this way, then urban life is necessary as a ethical object, purpose and scope, and "the city as a living creature that is constantly growing and transforming." Within the framework of the project the main goal is to create a list of urban bioethics standards. In order to activate the mechanism of urban bioethics, Iva talks about such valuable characteristics of local people as Responsibility, Committment, Awareness, Trust, Belonging. The project “European Bioethics in Action” fed into the list of bioethical standards. Iva Rincic also presented a list of 97 standards that determine relationships between animals, plants, people and environment. Further this list will be simplified for residents of the city. Iva wants all citizens to be included in these lists. She is also sure that this is the only way to have a rather bright tool to achieve bioethical city in the future. (shrink)