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Ekin Erkan
Columbia University
  1.  74
    On Laruelle and the Radical Dyad: Katerina Kolozova's Materialist Non-Humanism.Ekin Erkan - 2019 - Cultural Logic: A Journal of Marxist Theory and Practice 23:72-82.
    As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics and (...)
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  2.  31
    Laruelle Qua Stiegler: On Non-Marxism and the Transindividual.Ekin Erkan - 2019 - Identities: Journal for Politics, Gender and Culture 16 (1-2).
    Alexander R. Galloway and Jason R. LaRiviére’s article “Compression in Philosophy” seeks to pose François Laruelle’s engagement with metaphysics against Bernard Stiegler’s epistemological rendering of idealism. Identifying Laruelle as the theorist of genericity, through which mankind and the world are identified through an index of “opacity,” the authors argue that Laruelle does away with all deleterious philosophical “data.” Laruelle’s generic immanence is posed against Stiegler’s process of retention and discretization, as Galloway and LaRiviére argue that Stiegler’s philosophy seeks to reveal (...)
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  3.  28
    Omnicide: Mania, Fatality, and Future-in-Delirium (Review). [REVIEW]Ekin Erkan - 2019 - Philosophy East and West 69 (4):3-6.
    Omnicide: Mania, Fatality and Future-in-Delirium (2019) finds Iranian-American philosopher and comparative literature theorist Jason Bahbak Mohaghegh carving the figure of the diffracted neo-Bedouin wanderer, whose mania we tail through the book’s haunted pages. The book’s namesake, “omnicide,” refers to the complete and total erasure of the Earth--the term has most recently been generally applied in ecological contexts, most markedly in regards to the Anthropocene and futurology. However, it is the explicitly poetic and literary intersection between mania and the grotesque that (...)
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  4.  34
    European Cinema and Continental Philosophy: Film as Thought Experiment, by Thomas Elsaesser. [REVIEW]Ekin Erkan - 2019 - Alphaville 18:232–238.
    Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that there (...)
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  5.  62
    Societies of Disindividuated Hyper-Control: On the Question of a New Pharmakon. [REVIEW]Ekin Erkan - 2019 - Rhizomes: Cultural Studies in Emerging Knowledge 35.
    Drawing on Adorno and Horkheimer's oft-quoted 1944 essay, “The Culture Industry: Enlightenment as Mass Deception,” Bernard Stiegler’s The Age of Disruption affirms that the Frankfurt School duo scrupulously envisaged a “new kind of barbarism,” or an inversion of modernity’s Enlightenment project illustrated by our contemporary political semblance. Surveying the critical social fissures that index contemporary Western civil society—from 9/11 to the 2002 Nanterre massacre and the 2015 Charlie Hebdo shooting—Stiegler diagnoses that our epoch is plagued by the “absence of epoch,” (...)
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  6.  59
    The Generic Unmasked: Reproducibility and Profanation.Ekin Erkan - 2019 - Triple Ampersand 8:5.
    Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...)
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  7.  39
    Technology as the God-Command. [REVIEW]Ekin Erkan - 2019 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 21 (1):201-206.
    Giorgio Agamben's Creation and Anarchy is comprised of five meditative essays compiled over the last few years and presented as an anthologized collection. The initial few chapters' survey postmodern art qua divinity, with particular interest to a contradictory dialectic: inspiration and critique. Drawing from an idiosyncratic amalgam of thinkers–ranging from bastion thinkers such as Kant and Heidegger to zoologist Jacob von Ueküll and prescient media philosopher Gilbert Simondon–Agamben carves a historiographic lineage between politics, animal studies, landscape painting, and religion.
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  8.  57
    François Laruelle: A Biography of Ordinary Man - On Authorities and Minorities. [REVIEW]Ekin Erkan - 2019 - Cincinnati Romance Review 46:119-123.
    François Laruelle has rightfully earned the title of contemporary French philosophy’s archetypical heretic, having fostered the “non-standard” method of univocal genericity and spurred an altogether radical praxis, inciting a new generation of loyal followers that include Jason Barker and Ray Brassier. Laruelle’s method, often referred to as “non-philosophy” (though “non-philosophy” is an abbreviation of “non-standard philosophy”), withdraws from the metaphysical precept of separating the world into binarisms, perhaps epitomized by the formative division between “universals” and “particulars” in Kant’s Transcendental Deduction. (...)
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  9.  42
    Unveiling Thomas Moynihan's Spinal Catastrophism: The Spine Considered as Chronogenetic Media Artifact. [REVIEW]Ekin Erkan - 2019 - Cosmos and History 15 (1):564-571.
    A review of Thomas Moynihan's Spinal Catastrophism: A Secret History (2019).
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  10.  30
    Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand:1-29.
    Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for new (...)
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  11.  30
    On Levi R. Bryant’s “Dim Media”: The Age of Disruption, Homeless Media, and Problematzing Latour’s Apolitical “Flat Ontology” by Ekin Erkan.Ekin Erkan - 2019 - MediaCommons:1-20.
    Where Deleuze and Guattari introduce us to “lines of flight,” they transcode the mechanics of “flight” through “capture,” fomenting what is understood by many as Deleuze’s philosophical thesis: forging an analog relationship between univocity and difference via multiplicitious immanence. This is, of course, posed against Freud’s molar unities in their second chapter “One or Several Wolves.” Thus, if Heidegger is the philosopher par excellance of queries between hermeneutics and immanence (the philosopher of anti-immanence), it is Deleuze who asks “what is (...)
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  12.  21
    Psychopower and Ordinary Madness: Reticulated Dividuals in Cognitive Capitalism.Ekin Erkan - 2019 - Cosmos and History 15 (1):214-241.
    Despite the seemingly neutral vantage of using nature for widely-distributed computational purposes, neither post-biological nor post-humanist teleology simply concludes with the real "end of nature" as entailed in the loss of the specific ontological status embedded in the identifier "natural." As evinced by the ecological crises of the Anthropocene—of which the 2019 Brazil Amazon rainforest fires are only the most recent—our epoch has transfixed the “natural order" and imposed entropic artificial integration, producing living species that become “anoetic,” made to serve (...)
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  13.  25
    Hilna Af Klint at The Guggenheim: Metaphysics as It Patrols Mortality’s Borders.Ekin Erkan - 2019 - AEQAI 2019 (7/8):1-11.
    The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...)
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  14.  4
    Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand.
    Postmodernity’s cultural database logic and the consequent filmic characteristics of the digital age were fostered by Lev Manovich’s 1999 essay “The Database as Symbolic Form,” whereby Manovich furthered Roland Barthes’ adoption of Saussurrean sign-systems to describe cultural phenomena. In particular, Manovich applied Saussure’s description to postmodernity, delineating a juncture from modernism’s narrative-thralldom in the computer age, as “[i]nteractive interfaces foreground the paradigmatic dimension and often make explicit paradigmatic sets. Yet, they are still organized along the syntagmatic dimension” (232). The interface (...)
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  15.  4
    Navigating Agamben’s Cinematic Paradox Via Laruellean Immanence: A Hacktivist Cast Study.Ekin Erkan - 2019 - MediaCommons 8:1-23.
    While many film theorists declare Agamben as, in equal part, a Deleuzian film theorist, I pose that, through this Benjaminian lens, we can parse distinctive cinematic questions that Agamben exclusively pursues - in particular, cinema's potential as a repurposive counter-dispositif to combat dominant forms via critique. This is not to suggest that parallels do not exist between Agamben and Deleuze’s approaches: as Meillassoux has noted, Deleuze's logic of representation (also known as "correlationism") develops an "image of thought that attempts to (...)
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