continent. 2.1 (2012): 2–5 To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental ?lm history: materiality of cinema and of ?lm. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” ?lm. Whereas for the Expanded Cinema, the materiality or the “medium-speci?city” includes not only the ?lm material but also the entire condition (...) and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made ?lm, it is the whole ?lmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent. What can be called to attention through the materialist turn includes the aesthetic-institutional process in the projection-spectator relation and the (non-) representational process in ?lm-making. Moreover, these interventions bring their own temporalities back to those processes, and this returning emancipates the temporalities from their subordination to the cinema-as-commodity. Hangjun Lee is a ?lm-based artist whose practice is concerned with Hand-made Film and Experimental Cinema. Given these interests, Lee questions the linkage between materiality and temporality. This was his preoccupation around 2006, the time at which he started to collaborate with Chulki Hong, the noise improviser. The improvisational nature of their audio-visual performances opened means of detouring from the conventional editing techniques. Their collaboration also afforded critical investigations into the performativity of the practices in both the darkroom and the screening room, as well as in the private recording/practicing studio, and public performance spaces for the improvising musician. In fact, it was a kind of common interest shared by both us from the outset. In our collaboration, we avoid sacri?cing/concealing/minimizing one form of performativity (the performative nature and temporality of compositional process) for the sake of the other (i.e. those in improvisational and executional process). In the ?eld of experimental music and sound, this kind of approach has been comprehensively called “cracking” or “hacking”. The concepts are ?nely formulated in the coinage of “Cracked Everyday Electronics” (by Voice Crack) or more generally “Handmade Electronic Music” (by Nicolas Collins). 1 And this was a pure but perhaps necessary coincidence. the original title of the work of our collaboration and, retrospectively, of the set of our working principles at the same time, “The Cracked Share” was named by Lee after Georges Bataille’s masterwork, The Accursed Share , with the substitution of the adjective with “Cracked” as a synonym for ‘reticulated’ in the photographic image. We think the ascetic and subtractive aesthetic turn of the contemporary non-idiomatic improvised (and even somewhat non-improvised) music 2 pushed us further towards more radical dissociation with the empty temporality of commodi?ed audio-visual experience. It can be called the aesthetics of “without,” and exemplars include Yoshihide Otomo’s Turntable Without Records , Sachiko M’s Sampler without Samples . There are also other radical experiments even with the (non-)improvised music without noise and sounds that neatly meet the rules and idioms of the existing/established experimental music. For us, this thread among the experimental music currents weighs in its emphasis on subtractive and dissociational power unique to improvisational action. Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” 3 We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,” 4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodi?ed audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational de?nition of (electronic) music and it needs to be translated into audio-visual experiences. In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself. NOTES 1) Norbert Möslang, “How Does a Bicycle Light Sound?: Cracked Everyday Electronics,” Leonardo Music Journal 14 (2004): 83; Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking (New York: Rutledge, 2006). 2) We refer this not to the historical style or genre but rather the idea and practice that ?free improvisation? stands for. On the distinction between idiomatic and non-idiomatic improvisation, see Derek Bailey, Improvisation: Its Nature and Practice in Music (Cambridge, MA: Da Capo, 1993). On radically politico-histrorical interpretations of free improvisation and noise music from various present viewpoints, see Noise and Capitalism , (eds.) Mattin & Anthony Iles (Arteleku Audiolab, 2009). 3) Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge: MIT Press, 2009), p. 29. 4) I borrow the term from my long-time collaborator, Choi Joonyong. See Ryu Hankil, Hong Chulki & Choi Joonyong, Inferior Sounds (Balloon and Needle, CD, 2011). (shrink)
Weiss, Propen, and Reid gather a diverse group of scholars to analyze the growing obsolescence of the human-object dichotomy in today's world. In doing so, Design, Mediation, and the Posthuman brings together diverse disciplines to foster a dialog on significant technological issues pertinent to philosophy, rhetoric, aesthetics, and science.
This paper will argue for a conception of intrinsic value which, it is hoped, will do justice to the following issues: that Nature need not and should not be understood to refer only to what exists on this planet, Earth; that an environmental ethics informed by features unique to Earth may be misleading and prove inadequate as technology increasingly threatens to invade and colonize other planets in the solar system; that a comprehensive environmental ethics must encompass not only our attitude (...) to Earth, but to other planets as well—in other words, it must not simply be an Earthbound but virtually an astronomically bounded ethics. (shrink)
The following brief memoir of Wittgenstein needs a few preliminary words of explanation. Among those who attended his lectures and discussions in the years it covers was D. G. James, who later became Professor of English at Bristol University and then Vice-Chancellor of Southampton University. I met him both in Bristol and Southampton, and on one occasion suggested to him that some of us who had known Wittgenstein, but who had not become professional philosophers, might write down our recollections of (...) him, and that he and I should start. What prompted the suggestion was, I think, the publication of Norman Malcolm's book, and a feeling that the non-professionals might have something to contribute to the assessment of Wittgenstein, particularly as a person. I wrote a preliminary draft and sent it to James; but he never responded, there was much else to do, I let the matter rest, and now James is dead. I wrote in about the year 1960 on holiday and away from any books of reference and from my own notes of Wittgenstein's lectures and conversations. I have shown the typescript to a few interested people, but because of its preliminary and unfinished nature have not previously thought of publication. It has recently been suggested to me that it might be of more general interest, and I publish it now as it was written, with one or two trifling alterations. I am well aware of its limitations. It was intended to give an impression of Wittgenstein as a person rather than as a philosopher, and the rather miscellaneous collection of remarks in section 3 have that in view rather than any more strictly ‘philosophical’ intention. Others may well question some of the detail and disagree with some of the opinions expressed. And there are some things which I might put rather differently today. But if the memoir has any interest it is best left as it was written. (shrink)
This article explores the ways that Navajo poet Rex Lee Jim uses ideophony in one of his poems. I argue that Jim’s use of an ideophone in its myriad forms (from nominalized noun to independent ideophone to verb stem) creates an interwoven-ness across lines that evokes an iconicity of sound and sense. I begin by describing something of the grammatical structuring and uses of Navajo ideophony. I then turn to a discussion of contemporary written Navajo poetry that uses ideophony and (...) especially Jim’s poetry. I follow this with a discussion of the use of Navajo ideophony in literacy education and in competing views about the appropriateness of using ideophony in Navajo written literature. (shrink)
In the last two decades the idea of African Philosophy has undergone significant change and scrutiny. Some critics have maintained that the idea of a system of philosophical thought tied to African traditions is incoherent. In African Philosophy Lee Brown has collected new essays by top scholars in the field that in various ways respond to these criticisms and defend the notion of African Philosophy. The essays address both epistemological and metaphysical issues that are specific to the traditional conceptual languages (...) of sub-Saharan Africa. The primary focus of the collection is on traditional African conceptions of topics like mind, person, personal identity, truth, knowledge, understanding, objectivity, destiny, free will, causation, and reality. The contributors--who include Leke Adeofe, Kwame Anthony Appiah, Lee Brown, Segun Gbadegesin, D.A. Masolo, Albert Mosley, Ifeanyi Menkiti, and Kwasi Wiredu--incorporate concerns from various African philosophical traditions, including Akan, Azande, Bokis, Igno, Luo, and Yoruba. African Philosophy ultimately tries to bring a more rigorous conception of African philosophy into fruitful contact with Western philosophical concerns, specifically in the philosophies of psychology, mind, science, and language, as well as in metaphysics and epistemology. It will appeal to both scholars and students. (shrink)
In this chapter I argue that Machiavelli does not hold that all deception is permissible in war. While Machiavelli claims that "deceit... in the conduct of war is laudable and honorable," he insists that such deceit, or ruses of war, is not to be confounded with perfidy. Any Lee's U.S. Civil War film, "Ride With the Devil," illustrates this difference. The film also illustrates the difference between lying as part of romance, which is permitted, and lying at the moment of (...) truth in a relationship, when admitting one's feelings, which is not. (shrink)
Although Henry Lee is often recognized to be an important early critic of Locke's 'way of ideas', his Anti-Scepticism (1702) has hardly received the scholarly attention it deserves. This paper seeks to fill that lacuna. It argues that Lee's criticism of Locke's alleged representationalism was original, and that it was quite different from the more familiar kind of criticism that was launched against Locke's theory of ideas by such thinkers as John Sergeant and Thomas Reid. In addition, the paper offers (...) an interpretation of Lee’s claim that, pace Locke, attempts to prove the veridicality of our cognitive apparatus are fundamentally misguided. (shrink)
This paper discusses Lee’s argument that Lewis’s reformed conditional analysis of dispositions is preferable to the simple conditional analysis of dispositions. Lee’s argument is basically that there are some examples that can be adequately handled by Lewis’s analysis but cannot by the simple conditional analysis of dispositions. But I will reveal that, when carefully understood, they spell no trouble for the simple conditional analysis of dispositions, failing to serve a motivating role for Lewis’s analysis.
This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the (...) Abelam. The essays played a central role in the rekindling of anthropological interest in visual art, but they have also been subject to criticism for forcing on Abelam art Western categories that distort the role art objects play in the Abelam world. Assessing the corpus in terms of the proposed framework allows me to exemplify the main differences between a pragmatic and a semantic approach to gaining access to the efficacy of culturally or temporally distant art. (shrink)
Nam-In Lee’s impressive study of “instinct” in Husserl1 gives a new sense to Husserl’s self-description of his work as a preoccupation with beginnings (see p. x) because it seeks not only to integrate the theme of instinct systematically into Husserl’s transcendental phenomenology but to demonstrate that it has a fundamental position. I believe the author has successfully demonstrated his contention that other students of Husserl who have treated the theme of instinct as a marginal consideration failed to see that Husserl’s (...) genetic phenomenology requires the theory of instinct as its fundamental ingredient (Urstück, 10). The theme of instinct therefore informs the sense of Husserl’s later understanding of transcendental subjectivity and monadology. The book is so packed with discussions that the inevitable omissions of a review run the risk of distorting the merits of the work. (shrink)
The following reflections were originally an oral response to issues raised in Lee Yearley's presentation in May 2009 at Harvard Divinity School. As written here, they follow upon his oral and now written comments, highlighting key issues and points for development, drawing on this respondent's expertise in comparative and Hindu studies.
Kwame Anthony Appiah has devoted much scholarly work to exploring the problems surrounding racial and cultural identities in the USA. He defends the position that such identities need not be centrally significant in the psyche of the subject, and that black demands for blacks to be recognised as having a black (race) identity, is symptomatic of black racism. Like other racisms, black racism has a tendency to go imperial, affecting the autonomy of the individual to decide which identity constructs (...) she is willing to endorse as her own. Appiah believes that free association, as the locus of social solidarities and the formation of individual and social identities, should be upheld as a counterweight to the imperialism of racisms in the USA. He believes, furthermore, that the cosmopolitan state best caters for free associations of this kind. In this article I offer a comprehensive view of Appiah's support for cosmopolitanism as the best answer to the problems of identity which race and culture generate in multicultural USA. (shrink)
In the present article I examine the influence of Grotius's works on English republican literature by focusing on the writings of Anthony Ascham. Ascham's interpretation of Grotius is set in the context of the multifaceted uses of the Dutch lawyer's works in the 1640s and in early 1650s, comparing it to Marchamont Nedham's use of Grotius in support of the republican regime. In order to explain the purposes behind Ascham's and Nedham's deployment of Grotian language, I seek to connect (...) them with the politics of propaganda carried on by political groupings within the Parliament between 1648 and 1650. Finally, by pointing to Ascham's use of Grotius, some considerations follow concerning Anglo-Dutch republicanism in mid-seventeenth century. (shrink)
Kierkegaard’s Concepts is a comprehensive, multi-volume survey of the key concepts and categories that inform Kierkegaard’s writings. Each article is a substantial, original piece of scholarship, which discusses the etymology and lexical meaning of the relevant Danish term, traces the development of the concept over the course of the authorship, and explains how it functions in the wider context of Kierkegaard’s thought. Concepts have been selected on the basis of their importance for Kierkegaard’s contributions to philosophy, theology, the social sciences, (...) literature and aesthetics, thereby making this volume an ideal reference work for students and scholars in a wide range of disciplines. -/- Contents: Envy, Janne Kylliäinen; Epic, Nassim Bravo Jordán; Epigram, David R. Law; Ethics, Azucena Palavicini Sánchez; Evil, Azucena Palavicini Sánchez and William McDonald; Exception/Universal, Geoffrey Dargan; Existence/Existential, Min-Ho Lee; Experience, Jakub Marek; Fairytale, Nathaniel Kramer; Faith, William McDonald; Finitude/Infinity, Erik M. Hanson; Forgiveness, John Lippitt; Freedom, Diego Giordano; Genius, Steven M. Emmanuel; God, Paul Martens and Daniel Marrs; Good, Azucena Palavicini Sánchez; Governance/Providence, Jack Mulder, Jr.; Grace, Derek R. Nelson; Gratitude, Corey Benjamin Tutewiler; Guilt, Erik M. Hanson; Happiness, Benjamin Miguel Olivares Bøgeskov; Hero, Sean Anthony Turchin; History, Sean Anthony Turchin; Holy Spirit, Leo Stan; Hope, William McDonald; Humility, Robert B. Puchniak; Humor, Alejandro González; Hypocrisy, Thomas Martin Fauth Hansen; Identity/Difference, Claudine Davidshofer; Imagination, Frances Maughan-Brown; Imitation, Leo Stan; Immanence/Transcendence, Leo Stan; Immediacy/Reflection, Zizhen Liu; Immortality, Lee C. Barrett; Incognito, Martijn Boven. (shrink)
Partindo das reflexões de Habermas e sua concepção de modernidade, compreendida como um projeto inacabado, Giddens salienta que, em todas as sociedades, a manutenção da identidade pessoal e sua conexão com identidades sociais mais amplas é um requisito primordial para a segurança ontológica. Para alcançar a segurança ontológica, a modernidade teve que (re)inventar tradições e se afastar de "tradições genuínas", isto é, aqueles valores radicalmente vinculados ao passado pré moderno. Este é um caráter de descontinuidade da modernidade - a separação (...) entre o que se apresenta como o novo e o que persiste como herança do velho. É sobre a relação entre tradição e modernidade e sobre um diálogo entre Giddens e Habermas que trata este texto. O objetivo é identificar os pontos de contato e as diferenças das teses defendidas por ambos, a fim de avaliar as contribuições de cada um para se pensar a racionalização das sociedades contemporâneas. A modernidade tardia ou reflexiva é um processo de mudanças ininterruptas que afetam as bases da sociedade ocidental. Frente a uma realidade em constante alteração, faz-se necessário escolher entre uma certeza do passado e uma nova realidade, em contínua mutação. Nesse sentido, e segundo a perspectiva habermasiana, o caráter reflexivo da modernidade está nesse processo de escolha entre as certezas herdadas do passado e as novas formas sociais que conduz à reflexão ou, até mesmo, à reformulação das práticas sociais, provocando a racionalização e a (re)invenção de diversos aspectos da vida em sociedade. (shrink)
The following interview of Mark William Westmoreland with Anthony Paul Smith – well-known scholar and translator of François Laruelle – considers both implications and extensions of Laruelle's non-philosophy for contemporary thought. Smith has helped bring about a surge of interest in Laruelle due to his many translations of his texts as well as being the author or co-editor of several books on Laruelle. Discussed are in particular the difficulties and joys of translating and the usefulness of Laruelle's thought for (...) Smith's own work, especially in environmental and animal studies. Also considered are some themes of non-philosophy, the adaptability of Laruelle's thought for various disciplines, as well as new paths for Laruelle studies – new, unforeseen landscapes and uses of non-philosophy – that explore social phenomena such as race, racism, sexism, victim a.o. (shrink)
[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...) the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes (or contains) what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] (1) If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. (2) Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)
Introduction Although Anthony Giddens describes his approach as “social” rather than “critical” theory, and although there is little obvious Frankfurt School influence in his writing, he believes “social theory is inevitably critical theory.”1 While he might aim at such a critical position, it is far from obvious that he succeeds. On the contrary, his later writings have become an apology for the status quo.2 Failing to consider his prejudices, perhaps because he thinks critique is inevitable, Giddens has increasingly vindicated (...) predominant relations of domination. He celebrates the rise of post-traditional individuals, who have the freedom of choice to create and…. (shrink)
An important work in the debate between materialists and dualists, the public correspondence between Anthony Collins and Samuel Clarke provided the framework for arguments over consciousness and personal identity in eighteenth-century Britain. In Clarke's view, mind and consciousness are so unified that they cannot be compounded into wholes or divided into parts, so mind and consciousness must be distinct from matter. Collins, by contrast, was a perceptive advocate of a materialist account of mind, who defended the possibility that thinking (...) and consciousness are emergent properties of the brain. Appendices include philosophical writings that influenced, and responded to, the correspondence. (shrink)