The development of four-dimensional ultrasound pre-natal scans carries with it an intriguing range of philosophical questions. While ultrasound in pregnancy is a medical test for detecting foetal abnormalities, it has also become a social ritual in Western culture. The scan has become embedded within a discourse of the parent’s ante-relationships with their future child as much as it is a screening function. Within such a scene, the advance of technology – the move, for example, the increasing addition of dimensions to (...) pre-natal imaging, from 2D to 3D and 4D – is inextricably merged with the spatial rhetoric of the foetus. Drawing on both Heidegger’s insights into the relationship between the human and technology, and debates within feminist cultural theory, this paper explores how these spatial and temporal rhetorics of the foetal ultrasound relate to the philosophical motifs around self, knowledge, gender and the technical image. It charts these relationships through an analysis of two classic images of the foetal self, before considering how the fourth dimension of ultrasound – that of real-time image streaming of a foetal scan – enhances, develops and critiques these motifs. (shrink)

ABSTRACTThis paper draws on Ian Bogost’s argument that video games constitute a form of ‘procedural rhetoric’, in order to re-examine the representation of heroic madness First-Person-Shooter games. Rejecting the idea that games attempt to recreate the experience of madness to the player through linear representation, the paper instead identifies two persistent commonplace figures which appear within the genre: the monstrous double, and the reaching tentacle. While Bogost’s notion of procedural rhetoric allows analysis to move away from the more facile interpretations (...) of gameplay, the paper argues that these figures also demand an account of the commonplace itself – the rhetorical ‘topic’ – which links the technical structure of gaming procedures with the tropes and figures that enable them to make sense within their wider cultural context and tradition. While the figures of the double and the tentacle purposefully draw on existing tropes and processes associated with the cultural meanings of mental healt... (shrink)

In a recent article in The European Legacy, Mark Cortes Favis argued that the figure of Kierkegaard expressed a tension between two aspects of writing?the Socratic and the Platonic. While Favis is correct to see a duality in Kierkegaard's writing, his article does not fully answer the problem of how we can account for our interpretation of this tension. Given that the duality within Kierkegaard's writing transgresses the boundaries of author and reader, we cannot easily circumscribe any claims on his (...) writing without considering its effect on our reading. Rather, the characteristic duality of his authority manifests itself in a number of ways in the task of identifying the philosophical meaning of his texts. Kierkegaard's relationship to Socrates is thus symptomatic of a number of figural dualities that pervade interpretations of his work. By surveying the ways in which these interpretations draw on the axiom of duality in order to ascribe an authority to Kierkegaard's texts, I suggest Favis's argument that Kierkegaard's writing expresses both Socratic and Platonic aspects should be placed within the wider duality at work in the interpretation of Kierkegaard's work. (shrink)

This paper examines the current interest in ‘art activism’ (Grindon 2010), and the relationship between artistic expression and civil disobedience. Boris Groys has argued that the lack of political dissidence within contemporary art is not down to the ineffectiveness of the aesthetic, but the far more effective intrusion of the aesthetic by the political (Groys 2008). As such, the political question of civil disobedience is necessarily an aesthetic one. At the same time, this raises problems for how politically effective artistic (...) dissidence can be. As Grindon argues, if art activism often only mimics ‘real’ social activism, it remains within the boundaries of the gallery system with no real consequences (2010: 11). Most art activism fails to be effective civil disobedience, in this sense, as it already operates within the confines of pre-established curatorial spaces. As such, the use of art for the purposes of civil disobedience cannot be, then, mere aestheticism, but rather must act as ‘an insight into the transformed mechanisms of conquest’ (Groys, in Abdullah & Benzer 2011: 86): a conflict over the topology of disobedience which exposes the interrelation of aesthetics and politics through medium, space and archive. This paper critically assesses attempts in contemporary art to re-appropriate the symbolic dimension of dissidence as an aesthetic; in particular the use of militancy, asceticism and dissidence as an attempt to move beyond mere counter-political protest and towards a reclaiming of aesthetics from the intrusions of politics. It uses as a specific case example Militant Training Camp, a social experimental performance camp held at Arcadia Missa Gallery in London, March 2012. This weeklong performance piece was designed to explore the activity and mind-set of militant groups and the idea of non-pacifist activity within wider social movements. Engaging with not only the tradition of anarchist activism, but also more recent artistic engagements with civil disobedience (such as the Yes Men; Avaaz.org; Bike Bloc), the camp involved a residential ascetic ‘training programme’ followed by a series of violent performances open to the public, often disturbing other sites of protest such as Anarchist theatres and Occupy sites in the process. The paper uses first-hand documentary evidence and critical reflection on the event in order to argue that, as both an act of civil disobedience, and an exploration of the limits of its aesthetic treatment, the event raises two specific issues surrounding the notion of disobedience and its conceptual possibilities. The first issue is the representation of rage within the context of art activism. Here, the performance is discussed with particular reference to Sloterdijk’s arguments that argues that militancy and revolt operate under a ‘thymotic economy’ (2010: 58). However, Sloterdijk’s re-appropriation of the thymotic – a conceptualising of ‘rage’ which is not absorbed within the sublimination of psychology or Habermasian symbolism – is not as simple as offering an alternative, ‘non-symbolic’ rage. Given that modern militancy is always subject to containment (the ‘civility’ of civil disobedience), the second issue raised is the formative role of ‘curating’ acts of disobedience. Using the work of Groys on aesthetics and power, the paper assesses how ‘events’ of civil disobedience such as Militant Training Camp are located, represented, circulated and even stored, and the ways in which they might resist their reduction to or supplementing of a further economy (be it symbolic, banal or simply pious) which conceals the formative ‘rage’ of disobedience. (shrink)

The order of influence from thesis to hypothesis, and from philosophy to the social sciences, has historically governed the way in which the abstraction and significance of language as an empirical object is determined. In this article, an argument is made for the development of a more reflexive intellectual relationship between ordinary language philosophy and the social sciences that it helped inspire. It is demonstrated that, and how, the social scientific traditions of ethnomethodology and conversation analysis press OLP to re-consider (...) the variety of problematic abstractions it has previously made for the sake of philosophical clarity, thereby self-reinvigorating. (shrink)