This essay attempts a critical analysis of the boom in 'uncanny' theory. As the 'uncanny' has carved its image in cultural, political, sociological and aesthetic theory, there has been little attempt to challenge the notion that all critical work is or should be uncanny. Introductions to the concept, such as those by Nicholas Royle and more recently Anna Masschelein, have tended to promote its ubiquity and irreducibility, even while acknowledging a dramatic shift in its fortunes since the 1990s. Opening with (...) a brief genealogy of uncanny theory in the late twentieth century (looking to work on Freud, the influence of Derrida and American deconstruction) the article pays particular attention to the watershed of the late 1980s when the uncanny is increasingly assimilated to the 'spectral' and begins to take shape as an autonomous theory. It probes the influence of Heidegger, who inflected Derrida's own turn to spectres, and the way the uncanny is mobilised on cultural and sociological terrain as a specifically ethical tool: a site of historical mourning or sociological resistance. The article proposes that the anti-conceptualism of the uncanny is a transcendant gesture which needs to be read in the context of a crisis in the theorisation of Marxism at the end of the 1980s. In all the clamour over the disturbing and in-coercible logic of the uncanny, there has been little analysis of its potentially reactionary function on the contemporary scene. (shrink)

Supernatural fans often associate Season 3's popular “Jus in Bello” episode with the world's quintessential zombie movie, George Romero's Night of the Living Dead. Romero's zombie films, beginning with Night, fill the survival space with multiple, diverse survivalists who are forced to work through personal differences stemming from jealousy and petty annoyance to racism and bigotry, issues of morality, theology, and other social and cultural differences. Indeed, the setting is the first link to Romero's Night, whose cramped (...) Pennsylvanian farmhouse is little different than the poorly fortified police station holding Sam and Dean. The demons congregate listlessly around the jail. This is an obvious visual homage to the isolated Pennsylvanian farmhouse in Night. The work of the demons in “Jus in Bello” like the zombies in Night and Dawn, is ceaseless and instinctual. (shrink)

One of the pleasures of watching Saturday Night Live (SNL) comes from knowing the show is live. The not‐ready‐for‐prime‐time‐players, their guest hosts, the unannounced walk‐on cameos, the house band, and the guest musicians are all in New York at the very moment the show airs, offering us a mocking, postmodern representation of reality through absurd (and sometimes very juvenile) humor. From guest hosts spoofing themselves in sketches, to the various impersonations of cultural figures, to the parody commercials to the (...) pseudo‐news of “Weekend Update,” SNL humorously captures the present and reflects it back to us, satirically revealing the hidden realities we all experience. This chapter explores if Plato (427–347 BCE) and his Cave Myth, and Jean Baudrillard (1929–2007) and his conception of simulacra, can help us better understand the nature of SNL's reality. (shrink)

The organization of the cyclical open-air festival Night of Culture in Lublin in cooperation with a research group works on two levels. The first is the level of an offer of experiences and reflections for the audience of the Night of Culture. The second is the level of research – social and other – on the design, implementation and effects of the first level. On both levels, a phenomenon plays an important role that can be described (...) from the perspective of cognitive ecology with the term "affordance." A systematic analysis of this can lead to the third level: a meta-analysis of the street festival under discussion. I will not undertake such a complex task in this text, which is partly a review and then a "report", but I will make a brief reconstruction of the conceptual and design work of the Affordances Activity, in which I participated significantly and regularly, as well as will consider the stage of the production of designed objects and their subsequent operation during this year's (2023) edition of the Night of Culture, in which a group of volunteers (students of the Maria Curie-Sklodowska University) played an important role. Remarks of the aforementioned meta-research dimension of the project constitute a wide margin of the article. (shrink)

Our intention is to describe and analyse the experience gathered during the work on the project 'Presenting science is art. Popularising the results of social research at the Night of Culture festival in Lublin'. One of its aims was to provide practical knowledge about the challenges that accompany the popularisation of science, especially the outcomes of social research. The text deals with two aspects: the experience coming from popularisation activities at a mass, outdoor event such as Night (...) of Culture in Lublin, and the experience of working on the project with the invited experts. As it turned out, the project brought about many unforeseen situations and twists and turns, which revealed the flaws in our ideas concerning the popularisation of scientific knowledge. The article begins with an outline of the project – the underlying assumptions, target groups and outcomes. We then describe the difficulties we faced as a project team. We were aware of some of them from the beginning, others emerged during the work, and some only came to full light during the Night of Culture. In the last part of the article, we attempt at answering two fundamental questions – what was successful in the project and what should have been done differently? (shrink)

This paper explores the wandering during the Night of Culture, which I consider an essential practice for the people's experience of this event. Looking at this particular form of movement of those participating in this initiative between various event locations also allows us to see the implications of the Night of Culture for urban public spaces. The empirical base of the paper is the visual documentation of the events carried out during the Night of (...) class='Hi'>Culture during the 2023 edition. While interpreting the material, I refer to the situationist theory of drift and then reconstruct the structure of the festival's wandering, its rhythm, the type of attention bestowed on the city by the participants, and the form of this ephemeral community. In conclusion, I propose that the atmosphere of places can be used to analyse the city-forming effects of the Night of Culture, to grasp better the specificity of the event and its risks and potentials. (shrink)

During the Algerian struggle, Fanon warned us about the influence on politics of ‘the few European colonialists, powerful, intractable, those who have at all times instigated repressions, broken the French democrats, blocked every endeavor within the colonial framework to introduce a modicum of democracy into Algeria’. Is this remark still pertinent? How does Frantz Fanon help us understand current reactionary politics in France? Is his analysis of the French Left still pertinent? How does colonial discourse weigh on the postcolonial present? (...) In this article, I explore current expressions of French postcolonial reactionary politics focusing on an event in Reunion Island, a French postcolonial territory. I argue that it is important to observe what is happening in French postcolonial territories because they remain laboratories for repressive policies and discourses. What I call the discourse of ‘French Algeria’, a mix of revisionist history, resentment, wounded narcissism and racism, embodies a political trend that seeks to counter the small progress made in rewriting history from the point of view of the colony in France. (shrink)

The text describes an experimental form of combining sociological research with collective artistic activity during the 17th Lublin Night of Culture. The study involved collecting TST (twenty statement tests) from festival participants. The "bridge" element between research and artistic activity was the choice of a framework identity or a counterpoint to the test – in the form of an aphorism. The artistic activity took the form of a flash mob using symbols identifying participants with selected aphorisms, and then (...) proposing new identifications. The last one broke all the previous ones, creating an ephemeral community. (shrink)

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from (...) the philosophy of Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

In this piece, I extend a transformative power account to the conservation of dark (and starry) night skies. More specifically, I argue that the transformative power that dark nights bear warrants their conservation and is best understood in terms of the important intellectual, cultural, aesthetic, and (psycho-physiologically) restorative effects that they afford. This gives us a pressing set of reasons to combat the growing, global phenomenon of light pollution. To do so, I argue, we ought to preserve the few (...) remaining dark refuges that we have left (what I term wildness regions) and synergistically re-wild (i.e. re-darken) urban and suburban environments. Synergistic re-darkening, I propose, can be achieved by (i) establishing interpretive (educational) ‘dark zones’, (ii) implementing bioluminescent lighting technologies, and (iii) strategically employing lighting design. Finally, and in order to enact a degree of epistemic justice, I argue that we ought to implement multi-cultural ‘co-learning’ initiatives, which promote education pertaining to both Western, scientific and indigenous, North American astronomies. (shrink)

Minerva’s Night Out presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture.

The Celebration of Death in Contemporary Culture investigates the emergence and meaning of the cult of death. Over the last three decades, Halloween has grown to rival Christmas in its popularity and profitability; dark tourism has emerged as a rapidly expanding industry; and funerals have become less traditional. "Corpse chic" and "skull style" have entered mainstream fashion, while elements of gothic, horror, torture porn, and slasher movies have streamed into more conventional genres. Monsters have become pop culture heroes: (...) vampires, zombies, and serial killers now appeal broadly to audiences of all ages. This book considers, for the first time, these phenomena as aspects of a single movement, documenting its development in contemporary Western culture. Previous considerations of our fixation on death have not developed a convincing theory linking the mounting demand for images of violent death and the dramatic changes in death-related social rituals and practices. This book offers a conceptual framework that connects the observations of the simulated world of fiction and movies--including The Twilight Saga, The Vampire Diaries, Night Watch, Hannibal, and the Harry Potter series--to social and cultural practices, providing an analysis of the specific aesthetics and the intellectual and historical conditions that triggered the cult of death. It also considers the celebration of death in the context of a longstanding critique of humanism and investigates the role played by 20th-century French theory, as well as by posthumanism, transhumanism, and the animal rights movement, in the formation of the current antihumanist atmosphere. With its critique of movie and book blockbusters and the death-related social rituals, festivals, and fashions that have coalesced into the cult of death, this timely volume will appeal to anyone hoping to better understand a defining phenomenon of our age. Scholars and general readers of cultural studies, film and literary studies, anthropology, and American and Russian studies will find this book thought-provoking. (shrink)

In this book, Diana Senechal confronts a culture that has come to depend on instant updates and communication at the expense of solitude. Schools today emphasize rapid group work and fragmented activity, not the thoughtful study of complex subjects. The Internet offers contact with others throughout the day and night; we lose the ability to be apart, even in our minds. Yet solitude plays an essential role in literature, education, democracy, relationships, and matters of conscience. Throughout its analyses (...) and argument, the book calls not for drastic changes but for a subtle shift: an attitude that honors solitude without descending into dogma. (shrink)

Hypnagogic and hypnopompic experiences (HHEs) accompanying sleep paralysis (SP) are often cited as sources of accounts of supernatural nocturnal assaults and paranormal experiences. Descriptions of such experiences are remarkably consistent across time and cultures and consistent also with known mechanisms of REM states. A three-factor structural model of HHEs based on their relations both to cultural narratives and REM neurophysiology is developed and tested with several large samples. One factor, labeled Intruder, consisting of sensed presence, fear, and auditory and visual (...) hallucinations, is conjectured to originate in a hypervigilant state initiated in the midbrain. Another factor, Incubus, comprising pressure on the chest, breathing difficulties, and pain, is attributed to effects of hyperpolarization of motoneurons on perceptions of respiration. These two factors have in common an implied alien ''other'' consistent with occult narratives identified in numerous contemporary and historical cultures. A third factor, labeled Unusual Bodily Experiences, consisting of floating/flying sensations, out-of-body experiences, and feelings of bliss, is related to physically impossible experiences generated by conflicts of endogenous and exogenous activation related to body position, orientation, and movement. Implications of this last factor for understanding of orientational primacy in self-consciousness are considered. Central features of the model developed here are consistent with recent work on hallucinations associated with hypnosis and schizophrenia. (shrink)

The purpose of the following investigation is to understand how children from the old historic district El Refugio (or Barrio del Refugio) of the city of Puebla (Mexico) live in public spaces and what their days and nights look like. It is extremely important to understand the reasons for their appropriation of various places in the city because it allows one to explore the conditions in which they manifest autonomous attitudes. This article is therefore not only about customs and (...) class='Hi'>culture, but also about everyday relationships with the environment. Children are also involved in the activities of the group Re Genera Espacio (RGE) and the team of Benemérita Universidad Autónoma de Puebla (BUAP) in the development of all kinds of educational, artistic, and social activities. Among the most important results obtained is the observation that safety conditions are created by children in independent groups which move to other neighbourhoods (“barrios”), such as San Antonio and Santa Anita. Children make the street their space because they have important knowledge of the area. (shrink)

This article presents the results of an experiment which investigated elementary school children's explanations of the day/night cycle. First, third, and fifth grade children were asked to explain certain phenomena, such as the disappearance of the sun during the night, the disappearance of stars during the day, the apparent movement of the moon, and the alteration of day and night. The results showed that the majority of the children in our sample used in a consistent fashion a (...) small number of relatively well‐defined mental models of the earth, the sun, and the moon to explain the day/night cycle. These mental models of the day/night cycle were empirically accurate, logically consistent and revealed some sensitivity on the part of the children to issues of simplicity of explanation. The younger children formed Initial mental models which provided explanations of the day/night cycle based on everyday experience (e.g., the sun goes down behind mountains, clouds cover up the sun). The older children constructed synthetic mental models (e.g., the sun and the moon revolve around the stationary earth every 24 hours; the earth rotates in an up/down direction and the sun and moon are fixed on opposite sides) which represented attempts to synthesize the culturally accepted view with aspects of their Initial models. A few of the older children appeared to have constructed a mental model of the day/night cycle similar to the scientific one. A theoretical framework is outlined which explains the formation of initial, synthetic, and scientific models of the day/night cycle in terms of the reinterpretation of a hierarchy of constraints, some of which are present early in the child's life, and others which emerge later out of the structure of the acquired knowledge. (shrink)

Starry Nights: Critical Structural Realism in Anthropology offers nothing less than a reinventing of the discipline of anthropology. In these six essays – four published here for the first time – Stephen Reyna critiques the postmodern tenets of anthropology, while devising a new strategy for conducting research. Combative and clear, Starry Nights provides an important critique of mainstream anthropology as represented by Geertz and the postmodern legacy, and envisions a mode of anthropological research that addresses social, cultural and biological questions (...) with techniques that are theoretically rigorous and practically useful. (shrink)

This hilarious cast of star philosophers will make you laugh while you think as they explore the moral conundrums, ridiculous paradoxes, and wild implications of Saturday Night Live Comedian-philosophers from Socrates to Sartre have always prodded and provoked us, critiquing our most sacred institutions and urging us to examine ourselves in the process. In Saturday Night Live and Philosophy, a star-studded cast of philosophers takes a close look at the “deep thoughts” beneath the surface of NBC’s award-winning late- (...) class='Hi'>night variety show and its hosts’ zany antics. In this book, philosophy and comedy join forces, just like the Ambiguously Gay Duo, to explore the meaning of life itself through the riffs and beats of the subversive parody that gives the show its razor-sharp wit and undeniable cultural and political significance. Our guest hosts raise some eyebrows with questions like: Is Weekend Update Fake News? Does SNL upset dominant paradigms or trap us in political bubbles? When it comes to SNL, how can we tell the difference between satire, smart-assery, and seriousness? Is the Ladies Man too stupid for moral responsibility? What is the benefit of jokes that cause outrage? The Church Lady has a bad case of moral superiority. How about you? What can Wayne and Garth teach us about living a happy life? (shrink)

Working the night shift can be fraught and experienced as demanding and, yet, is often dismissed as babysitting. Few researchers have explored the social and cultural meanings of night nursing, including storytelling rituals. In 2019, a narrative study was undertaken. The aim was to explore the stories recalled by nurses about working night shifts. Thirteen Australian nurses participated. Data were gathered using the Biographical Narrative Interview Method, and narrative analysis produced forty stories and three themes: strange and (...) challenging experiences; colleagues can be mentors (or not); and textbook knowledge is only part of what is needed on night shift. Nursing students who engage with these stories may come to understand the challenges of the night shift, and the valuable work that nurses engage in throughout a 24‐hr period, work that involves adept psychosocial and interpersonal skills alongside technical and physical competence. (shrink)

Samizdat, the underground circulation of unofficial and forbidden literature in the Soviet Union, is an example of how censorship can backfire. Ideological restrictions produced walls of monotony in libraries and bookstores, propelling readers to search for more interesting fare. Sensitive texts on religion, philosophy, human rights, and current events, as well as literary works, passed from hand to hand clandestinely from around 1960 until censorship was abolished in the late 1980s. Von Zitzewitz's study is itself interesting fare, uncovering the workings (...) of samizdat as both a distribution network, comparable to that of print culture, and a social network that developed bonds between people who shared a defined purpose outside the public space. By no means did they all think of themselves as dissenters. For many people who lived ordinary Soviet lives, it was simply that “reading samizdat increased [their] individual feeling of freedom and represented a personal act of resistance.”One merit of this book is its point-by-point comparison of the samizdat distribution network to the print-culture production chain of author-publisher-printer-shipper-bookseller-reader. Samizdat had an analogous chain, in which a text made its way from author to reader through a network of people, each performing a specific function—procuring manuscripts, housing them, typing (or photographing) multiple copies, and delivering copies to readers. There were others who served as compilers, translators, collectors, and even editors and “librarians” (although accepting this designation requires abandoning the notion of a library as a stationary physical repository).Since all participants in the network strove to hide their traces from the prying eyes of the security police, samizdat researchers are hampered by a lack of records and evidence. To help fill the information gap, von Zitzewitz (in collaboration with Memorial's Gennadii Kuzovkin) designed a sixty-three-question survey targeting former samizdat participants and posted online in 2017. Tables display statistics (from the first 122 respondents) on demographics (respondents’ gender, place and decade of birth, and education level) as well as information on which authors, genres, and subject matter were most read. Other survey questions were designed to elicit recollections that help us understand what it felt like to participate in samizdat culture, whether as an author or reader, or in some aspect of acquisition or distribution. The many quotations from the survey responses bring to life the intensity of this activity. Receiving a sought-after text with an injunction to return it (or pass it on) the next day might mean reading all through the night to get through hundreds of pages. And while it is intuitive to think of samizdat as walled off from official culture, this study argues persuasively that they were intertwined. There were plenty of gray areas and fuzzy boundaries, too. One owner of samizdat books had several of them confiscated during a KGB search of his apartment, only to find them later for sale in a bookshop.Having begun as a clandestine, makeshift response to the institution of censorship, samizdat became more sophisticated over time, evolving into an institution itself. It arguably contributed to the perestroika reforms and became unnecessary when censorship was given the heave-ho. Subsequently, samizdat activists who had managed the covert production and circulation of entire journals published full accounts of their activity and the operation of their networks. Von Zitzewitz makes good use of these sources and shows admiration for the role these men played. She notes, though, that their detailed descriptions omit names of any of the typists who gave up their leisure hours and nightly sleep for the pleasure of hammering out multiple carbon copies of forbidden literature, usually for no pay. The word typist, given its lowly connotation in both Russian and English, is unfortunate. Typists were samizdat's printing press, and without their commitment and sacrifice the whole enterprise would have collapsed. Von Zitzewitz suggests that it may never have occurred to the samizdat heavyweights to acknowledge them by name. They were just... women. On the other hand, the menial typist designation had its upside. It seems to have resulted in a shorter prison sentence for at least one of them.Von Zitzewitz argues strenuously that samizdat was first and foremost a social network. If you wanted to get hold of, say, The Gulag Archipelago, you needed to know someone with the connections to help you get it. To call samizdat a social network is, of course, to wade into comparisons with today's online social media networks. Von Zitzewitz notes parallels, but she finds that the differences overwhelm the similarities. Samizdat was a social network, but one that depended on mutual trust. (shrink)

This hilarious cast of star philosophers will make you laugh while you think as they explore the moral conundrums, ridiculous paradoxes, and wild implications of Saturday Night Live Comedian-philosophers from Socrates to Sartre have always prodded and provoked us, critiquing our most sacred institutions and urging us to examine ourselves in the process. In Saturday Night Live and Philosophy, a star-studded cast of philosophers takes a close look at the “deep thoughts” beneath the surface of NBC’s award-winning late- (...) class='Hi'>night variety show and its hosts’ zany antics. In this book, philosophy and comedy join forces, just like the Ambiguously Gay Duo, to explore the meaning of life itself through the riffs and beats of the subversive parody that gives the show its razor-sharp wit and undeniable cultural and political significance. Our guest hosts raise some eyebrows with questions like: Is Weekend Update Fake News? Does SNL upset dominant paradigms or trap us in political bubbles? When it comes to SNL, how can we tell the difference between satire, smart-assery, and seriousness? Is the Ladies Man too stupid for moral responsibility? What is the benefit of jokes that cause outrage? The Church Lady has a bad case of moral superiority. How about you? What can Wayne and Garth teach us about living a happy life? (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

UNESCO Philosophy Day/Night 2016 was full of intellectual input and efforts for critical reflection in a popular form which, we would like to hope, could motivate, in a great number of people, an interest in philosophy not only as cultural heritage but also a dynamic and constantly developing sphere of thought which is no less relevant at present than it was in the past. It could, thus, be concluded that, in the true sense, the event was a celebration of (...) philosophy and human thought in a complex form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spectres of Pessimism: A Cultural Logic of the Worst by Mark SchmittJohn StoreyMark Schmitt. Spectres of Pessimism: A Cultural Logic of the Worst. Cham: Palgrave Macmillan, 2023. 147 pp., hardcover, $44.99. ISBN 9783031253508.[End Page 256]What I have called radical utopianism was an important concept for two of the founding figures of British cultural studies, E. P. Thompson and Raymond Williams.1 In 1976, in the revised edition of William (...) Morris: Romantic to Revolutionary, Thompson introduced into English Miguel Abensour's concept of the "education of desire."2 This has had a profound impact on what has become known as utopian studies but has had hardly any influence on cultural studies. Ruth Levitas together with Thompson (from whom she borrowed the concept) have probably done more than most to make Abensour's formulation popular in critical work on utopianism.3Abensour, however, was almost certainly drawing on part of a point made by William Morris in a letter written in 1884. Morris writes of the teaching of desire and political organization as the two main components necessary to bring about radical change: "The means whereby this is brought about is first, educating people into desiring it, next organising them into claiming it."4 But he also writes of another form of education, what he called "the education of discontent."5 In "Art Under Plutocracy," a lecture given in Oxford in 1883, he explained, "It is my business here to-night and everywhere to foster your discontent … [and] to help in educating that discontent into hope, that is into the demand for the new birth of society."6 He made a similar point in a lecture given in Manchester earlier in 1883:My business herein is to spread discontent. I do not think that this is an unimportant office; for, as discontent spreads, the yearning for bettering the state of things spreads with it, and the longing of many people, when it has grown deep and strong, melts away resistance to change in a sure, steady, unaccountable manner.7The role of the education of discontent is to undermine our sense of the inevitability of the here and now, to make change conceivable and to believe that it is possible, promoting what Raymond Williams calls an "active wanting"—"Possibility, seriously considered, is … not what with luck might happen. It is what we can believe in enough to want, and then, by active wanting, make possible."8 For Morris, the production of utopian desire, as a result of the interrogation of the here and now from the perspective of an alternative social space, would, according to Thompson, "help people to find out their wants, to encourage them to want more, to challenge them to want differently, and to envisage a society of the future in which people, freed at last of necessity, might choose between different wants."9 [End Page 257]Radical utopianism allows us to dare to dream that the way things are is not inevitable—that is, a world arranged in the interest of the powerful few. It broadens our vision of the world and opens up new ways of seeing. As the familiar is defamiliarized, what we have learned to think of as immutable suddenly looks changeable and the capitalist dogma There Is No Alternative can begin to give way to the enabling slogan Another World Is Possible. It allows us to anticipate the possibility of a world in which the words of Percy Bysshe Shelley, to slightly misquote them, have a revolutionary insistence: "We are many, they are few."Radical utopianism seeks to free imagination from the limits placed on it by a society run in the interests of the powerful few and to know that these limits are historical. While we seem able to see the past as historical and the future as history waiting to happen, the present seems outside history: in a word, "natural." Radical utopianism makes the present historical. Understood in this way, it is not an attempt to produce blueprints of the perfect society. Given the historical variability of human nature, it is impossible to predict what a perfect society might be like. Instead, radical utopianism is... (shrink)

The recent social encyclical Fratelli tutti provides the Chinese Catholic Church with renewed hope in a time of sweeping impasses. This article is inspired by Pope Francis’s passionate summons for the centrality of love, a culture of encounter, and a new social and political order. It presents an utterance of a laywoman rising from the Chinese Church, aspiring to dialogue with the encyclical. By weaving Francis’s vision together with the wisdom of Carmelite saints and my personal knowledge of the (...) Chinese Church, I call upon the Chinese Church to deepen its roots in the soil of love and to journey through the dark night. I urge the Chinese Church to re-encounter atheism and to become a beacon of peace in Chinese society. I conclude the article with an appeal for authentic solidarity from the world Church and all concerned parties of the Chinese Church. (shrink)

From climate change, debt, and refugee crises, to energy security, environmental disasters, and terrorism, the events that lead nightly newscasts and drive public policy demand a global perspective. In the twentieth century the world sought solutions through formal institutions of international governance such as like the United Nations, the International Criminal Court, and the World Bank, but present-day our responses to global realities are often more provisional, improvisational, and contingent. Tracing this uneven history in order to identify principal actors, contesting (...) ideologies, and competing rhetoric, Negative Cosmopolitanism challenges the Kantian ideal of cosmopolitanism as the precondition for a perpetual global peace. Uniting researchers working on contemporary problems with those studying related issues of the past--including slavery, industrial capitalism, and corporate imperialism--essays in this volume scrutinize the entanglement of cosmopolitanism within expanding networks of trade and global capital from the eighteenth-century to the present. By doing so, the contributors pinpoint the ways in which whole populations have been unwillingly caught up in a capitalist reality that has little in common with the earlier ideals of cosmopolitanism. A model for provoking new and necessary questions about neoliberalism, biopolitics, colonialism, citizenship, and xenophobia, Negative Cosmopolitanism establishes a fresh take on the representation of globalization and modern life in history and literature. (shrink)

This collection was inspired by the observation that film remakes offer us the opportunity to revisit important issues, stories, themes, and topics in a manner that is especially relevant and meaningful to contemporary audiences. Like mythic stories that are told again and again in differing ways, film remakes present us with updated perspectives on timeless ideas. While some remakes succeed and others fail aesthetically, they always say something about the culture in which_and for which_they are produced. Contributors explore the (...) ways in which the fears of death, loss of self, and bodily violence have been expressed and then reinterpreted in such films and remakes as Invasion of the Body Snatchers, Night of the Living Dead, and Dawn of the Dead. Films such as Rollerball, The Ring, The Grudge, The Great Yokai Wars, and Insomnia are discussed as well because of their ability to give voice to collective anxieties concerning cultural change, nihilism, and globalization. While opening on a note that emphasizes the compulsion of filmmakers to revisit issues concerning fear and anxiety, this collection ends by using films like Solaris, King Kong, Star Trek, Doom, and Van Helsing to suggest that repeated confrontation with these issues allows the opportunity for creative and positive transformation. (shrink)

This ethnographic account of a night spent in an African-American heroin shooting gallery in East Harlem, present the details of how heroin, cocaine and crack are bought, injected, enjoyed and suffered on New York City's most dangerous streets. Although the narrative spans only one ten-hour session, it builds upon the author's many years of participant-observation research among drug dealers and addicts. The observations and conversations evoke the roller coaster agonies and ecstasies of heroin and cocaine addiction. They also highlight (...) the structural contradictions and the human cost - in the form of immediate personal pain and fear - of US inner-city apartheid. By situating himself as a white researcher violating apartheid and challenging the taboos around class and sobriety, the author documents the polarization of street culture in the criminalized economy. The vacuum created by the breakdown of both the public and private sectors in inner-city communities has been filled by a dynamic underground drug economy. This expanding illegal industry, along with the state-sanctioned `war on drugs', has spawned an oppositional street culture of resistance that contradictorily is a central force in the community's devastation. While the drug addicts and dealers in this account are clearly victims, they are also the immediate agents for their neighborhood's destruction, and for their own violent suffering. At the same time, they remain `all-American' in their life view, internalizing the causes for their poverty and isolation. They direct their violence primarily against one another and against themselves. The desperation of the addicts is communicated in the minute details of how they inject themselves with potentially HIV-contaminated syringes. Simultaneously, however, the narrative emphasizes their professional skill at surviving on the street. It documents their extensive cultural capital in deploying interpersonal violence and economic deception, as well as their complex definitions of hierarchy and dignity. Ultimately, we are confronted by the banality of the painful contortions that are inherent in human quests for respect and meaning - if not ecstasy - in settings of extreme social misery. (shrink)

Theodore Roszak wrote of the counter-culture, Charles Reich of Consciousness III, and Alvin Toiler of Future Shock. In Culture Out Of Anarchy, Judson Jerome, an eminently successful college teacher with all the sensitivity of an accomplished poet, brings all these concerns to bear upon the reconstruction of American higher education. Jerome, however, has no clear consistent thesis, and his proposals for academic change seem rather vague, general, and even undramatic. Part I, entitled "The Fifth Estate," describes the social/political (...) context of contemporary academe. Part II, "Threshold of Change," describes six recent experimental colleges. Part III, "Tomorrow's Schools...," is Jerome's prognostication for the reconstruction of American colleges and universities. It seems from evidence in the book that the author had students tape a number of interviews, these tapes forming the background for much of the book. There are no documentary references and index. The result is that much of the book reads like an interminable college-student bull session. The discussion is serious and intense, interspersed with many personal experiences and suffused throughout with high idealism. But the reader is apt to suffer from the same kind of hangover one feels after sitting through an all-night session. One remembers many personal details, but he can recall very few well-defined principles and has no carefully constructed proposals for genuine educational reform. Perhaps professional educators can read Culture Out Of Anarchy and distill enough essence to rejuvenate the old forms of education. Or perhaps today's anarchists can see in this book the emerging new culture. There are others who only feel dulled with a foggy hangover.--E. W. R. (shrink)

In this issue, Ahmadi1 reports on the practice of hymenoplasty—a surgical intervention meant to restore a presumed physical marker of virginity prior to a woman's marriage. As Mehri and Sills2 have stated, these women ‘want to ensure that blood is spilled on their wedding night sheets.’ Although Ahmadi's research was carried out in Iran specifically, this surgery is becoming increasingly popular in a number of Western countries as well, especially among Muslim populations.3 What are the ethics of hymen restoration?Consider (...) the role of the physician. Two of the doctors interviewed by Ahmadi reported being in ‘a perpetual state of guilt because of the surgery's inherent aim at deceiving the groom’ and noted their ‘personal conflict’ at being involved in this deception. Yet: "None of the doctors believed that the surgery was unethical, arguing that the girl could be ‘abused’ and ‘can even die’ if she is discovered not … ". (shrink)

In September 2006, when 45 scholars and activists from 19 countries around the world gathered amid the spires and gargoyles of Oxford for a conference entitled, “Hope: Probing the Boundaries,” complex dialectics of hope and despair circulated through the meeting rooms by day, and the conversations in quadrangles and pubs late into the night. On the one hand, the remarkable social and political openings and possibilities of the previous decade, from Berlin to Johannesburg, Leningrad to the Lacandon jungle of (...) Chiapas, seemed to be ever-more constrained by political and economic forces as brutal as those that preceded them, but, on the other hand, there were the Zapatistas and a thousand other movements persisting in the belief that, to echo the mantra of the World Social Forums, “another world is possible,” and there we were from around the world, to do the work of theorizing, describing, and enacting the persistence of individual and collective hope despite grim realities. The essays developed from that conference and collected here reflect both the theoretical and philosophical underpinnings and the cultural and political praxes of “hope against hope.”. (shrink)

In this paper I show that, from a philosophical perspective, in Elie Wiesel’s work in general and in Night in particular, the relation between ethics and religion is based on complementarity. In order to achieve this, I have analysed the way in which memory is shown as an invitation to participation in a common set of meanings, values and actions. What I deem most significant is the way in which the memory of the Holocaust is constituted as a medium (...) of action and of communion among humans in an act of mutual responsibility. Through this, the memory of the Holocaust obliges us to assume an ethics of responsibility and of action that rules out the possibility of a contemporary repetition of the events that took place in the death camps. I use Night to show how this narrative reveals several points that are important for understanding certain aspects of the relation between ethics, religion and the memory of the Holocaust. One of these is the understanding of memory as a way to bring man and God together in a relation of mutual communication, beginning with the experience of suffering of dehumanization and of God’s absence from the death camp. Another is that the religious and cultural memory represented by Israel is the main target of extermination as a manifestation of radical evil. A third is that Israel’s suffering has a paradigmatic value, and therefore the memory of the Holocaust becomes a special power that may be used as a tool to diminish the power of evil through the elimination of indifference and the assumption of responsibility. (shrink)

Alfred Hitchcock’s first cinematic success, The Lodger (1926, silent), provides a case study of contagious violence in the modern metropolis. The film is ostensibly a crime thriller centered on the search for the Avenger, a serial killer modeled on Jack the Ripper. But Hitchcock raises the stakes by introducing a love plot in which the detective and the suspected killer compete for the same woman, who may or may not be the slayer’s next target. In the course of this triangular (...) struggle, the hostility between rivals for the same object of desire escalates to the point of eroding any secure distinction between the cop and the killer, innocence and guilt, legal authority and criminal transgression. As if in homage to .. (shrink)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, (...) in a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

A major conceptual dynamic in all major religious traditions is the need for purification and transformation of the individual in order to effect integration and maturation of the personality in the divine. Although the means by which this purification takes place differs according to the cultural and religious configurations of any given tradition, nevertheless a recurring image is that of an inner and outer odyssey. A major example is the threefold path of John of the Cross, which presents a psycho-spiritual (...) journey by which 'divine osmosis' can be realised, passing through the 'dark night of the soul', and culminating in 'spiritual marriage'. Although not accepted by many theoreticians and practitioners of mysticism, nevertheless the value of the Sanjuanist schemata still holds sway in contemporary society. (shrink)

While the scientific contributions of François Jacob were outstanding, I also consider that his conception of science, and of its place among other forms of knowledge, is also highly original, and important for the future of science in our societies. His contributions to the history and philosophy of science were neither a hobby nor a secondary activity, but they were for him a natural complement to his scientific work. He fully opposed the concept of the two cultures, the literary and (...) the scientific, proposed by C.P. Snow. For Jacob, concepts, metaphors and models circulated between the various spheres of human activity. This is obvious in his own work. This “open” conception of scientific activity did not prevent him from defending the specificity, and the superiority, of scientific knowledge. (shrink)

Many of Mike Myers’ characters, both on Saturday Night Live (SNL) and in movies, take things either too seriously or too lightly. This chapter focuses on the pop‐cultural significance of “Wayne's World” by taking it broadly to include not just the SNL sketches but also the movies and various special appearances. In their way, Wayne Campbell and Garth (Dana Carvey) symbolize the importance of play, leisure, and fun in our lives, and in this respect touch on certain important aspects (...) of applied philosophy, specifically the philosophy of play. Activities that are playful or leisurely have intrinsic value, and are intrinsically motivated, which means that they are done for fun, or, “for their own sake.” One of the great twentieth‐century philosophers who champions the lazier, more leisurely side of life is Bertrand Russell. In their grasshopperly way, Wayne and Garth illustrate nicely John Huizinga's theory of play. (shrink)

Shani Mootoo's Cereus Blooms at Night demonstrates how willful and strategic epistemologies of ignorance intertwine. By rejecting a compartmentalized approach to domination, Mootoo highlights the disjuncture between idealized images of family, home, love, and the Caribbean and traumatic events of personal and cultural history. Mootoo not only asks readers to take up resistant questioning, argues May, but also to recognize that epistemology must acknowledge unspeakable and silenced stories to adequately account for multiple ways of knowing.

Shani Mootoo's Cereus Blooms at Night demonstrates how willful and strategic epistemologies of ignorance interwine. By rejecting a compartmentalized approach to domination, Mootoo highlights the disjuncture between idealized images of family, home, love, and the Caribbean and traumatic events of personal and cultural history. Mootoo not only asks readers to take up resistant questioning, argues May, but also to recognize that epistemology must acknowledge unspeakable and silenced stories to adequately account for multiple ways of knowing.

It once seemed almost self-evident that the extraordinary progress of Greek astronomy and mathematics in the Hellenistic age were, at least in part, the result of contact with Babylonian and Egyptian culture. But, whatever they may have owed to Babylonia in the exact sciences, there is now a growing consensus that even as early as Eudoxus the Greeks had advanced beyond the point where they might have profited from Egyptian help, and it is not easy to find a solid (...) basis for the widespread Greek belief in the superior wisdom of the Egyptian hierarchy. Yet the preface to the famous Calendar for the Saite nome, P. Hibeh 27, provides circumstantial evidence that one Greek, at least, in the fourth or early third century B.C., found in Egypt an instrument for measuring the time at night which was new to him and which he may well have found impressive in its accuracy. (shrink)

Street festivals such as The Night of Culture (Noc Kultury) are aimed at fostering cultural participation. The growing popularity of such festivals raises the question, whether The Night of Culture creates an environment facilitating knowledge popularization. The paper explains that The Night of Culture creates an experience of engagement and immersion. The experience of immersion and engagement is grounded in blurring the clear distinction between representational objects and elements of so-called ordinary reality. Since the (...) art installations at The Night of Culture are often designed to be treated as an extension of the physical space in which the participant is located, from the participant’s perspective they lose the standard representational function. The paper explains that blurring the distinction between representation and reality impose serious limitation on treating the installations at The Night of Culture as the objects with a cognitive function. (shrink)

Military coups are one of the most important social/political phenomenon of the last century. While some social scientists claim that military coups in underdeveloped and developing countries are “signs of change and progress” and they have “modernizing roles,” many others rightly object against such claims and, instead, highlight the limits of economic and political skills of coup leaders, their use of violence, their tendency to violate human rights, and their incompetence in increasing the welfare of their country and in increasing (...) production of goods and services. Turkey is a country with many experiences of military coups. But for the first time in its republican history, Turkey witnessed, in July 15th 2016, a coup attempt organized by a religious community. From many aspects, this is a sui generis experience with deep influences. In an effort to understand the meaning and social aspects of this experience, I have three main aims in this paper: a) discussing the significance of the first night of this coup attempt, b) stressing some dimensions of this experience in terms of its impacts on the society, c) discussing social dynamics of the organization behind this coup attempt. The data I will use for the purpose of these three aims come, firstly, from archives of events that I witnessed, like everybody else, or from the media. Additionally, they come from secondary data gathered from the existing literature which I tried to use critically. Throughout the paper, after emphasizing five major points regarding the significance of the first night, I explore complex dimensions of interpersonal trust reduce which I see as the most important impact of the coup attempt on the society. Finally, I critically look at and evaluate strengths and weaknesses of some arguments about the nature and features of the organization (FETÖ) behind this coup attempt and then I propose my own arguments which are based on a class analysis and culture of free-riders. I conclude that fighting against the culture of free riders is not less important than fighting against all terror organizations like the one behind the July 15th Coup Attempt. I suggest three main measures in this regard. (shrink)