A Fable of Infection

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Author(s): Laurence Simmons / Language(s): English / Issue: 2/2020

Painting in the fifteenth century changed because the fragility of human life changed. Curiously, the bounty of Italian Renaissance painting was to flourish in the dark shadow of the plague. Art also infects: paintings contaminate, metaphorically, and perhaps even microbiologically. For, as has happened during our coronavirus closures, art galleries shut their doors. Viewing painting may also be a form of infection as the mind of the painter percolates, almost inexorably, into the mind of the viewer, as it seems to have done here, I hope, in my account of this work.

A sokféleség két formája és a homogenizáció

Author(s): János Tóth I. / Language(s): Hungarian / Issue: 4/2019

Diversity is the unity of sameness and non-sameness (difference). In a basic situation, the more significant the difference, the greater the diversity. However, the organic systems based on relatively homogeneous groups, sub-units and structures are governed by special rules. The heterogenization of groups, that is, their dissolution decreases diversity. I propose to present this paradox effect of homogenization through examples taken from biology and social studies. The structural diversity of humanity is closely linked to the objective and subjective sameness and identity of individuals. There are three fundamental, political approaches to relate to human diversity: hierarchy, the approach that emphasizes difference; equality that emphasizes sameness, and equality that emphasizes difference. The first approach belongs to the outworn past, therefore the battle for defining the future takes place between the remaining two approaches. The aspect that these approaches are debating is whether it is the individual form of diversity (globalization, deconstruction) or its structural form (emancipation, sovereignty) that must be promoted.

A strawberry, an animal cry and a human subject: Where existential semiotics, biosemiotics and relational metaphysics seem to meet one another

Author(s): Katarzyna Machtyl / Language(s): English / Issue: 3-4/2019

The article discusses some semiotic approaches to the relation between nature and culture. Starting with outlining the structuralistic approach to this issue, especially the ideas of Juri Lotman and Algirdas Julien Greimas, the author finds parallels between different views on the relation between the natural world and human beings. First, the juxtaposition of Eero Tarasti’s existential semiotics with selected concepts of biosemiotics is discussed. The following part of the paper is dedicated to Bruno Latour’s ideas on nature–culture relation, hybrids and mediations. Then the author refers to Lotman’s notion of the semiosphere as the common space for all living and inanimate elements. Closing the paper with a return to biosemiotics, the author comes back to Tarasti’s ideas and compares these with some ideas in biosemiotics, paying special attention to the concepts of unpredictability, choice and dynamics. The comparison shows that some intuitions, assumptions and theses of these different scholars turn out to be surprisingly convergent. The author believes that the outlined parallels between Tarasti’s view, Latour’s and Lotman’s concepts, and biosemiotics may be promising for further research, inviting detailed study.

An Adieu to Europe: The Impossible Necessity of Balkan Politics

Author(s): Jelisaveta Blagojević / Language(s): English / Issue: 1-2/2008

“Our experience is provincial,” writes Radomir Konstantinović at the very begining of his book, now famous, Philosophy of the Provincial, published in Belgrade in 1969. “Province is our destiny, it’s our evil fate,” he continues by using the metaphor of the provincial in order to describe the way of life and thinking typical of small town mentality.

Arhitektura i filozofija: paradoksi i metamorfoze njihova susreta

Author(s): Chris Younès / Language(s): Croatian / Issue: 05+08/2019

Dobro je poznato da je Jacques Derrida isticao ideju o suštinskom suživotu filozofije i arhitekture, te je rekao: »Collège international de philosophie treba osigurati mjesto susreta (rencontre), susret mišljenja, između filozofije i arhitekture. Ne zbog toga da se konačno sukobe, već da promisle što ih oduvijek drži zajedno u najbitnijoj kohabitaciji.«

Biopolitics, Microbiopolitics, Neuropolitics, Cosmopolitics and Other Posthumanist Views of the Global Society

Author(s): Denisa Kera / Language(s): English / Issue: 2/2007

The paper compares different views on technological society that develop the posthumanist position but avoid technological determinism or social constructivism. Special attention is given to the dichotomy between the concept of biopolitics (Foucault) and the concept of cosmopolitics (Latour) in relation to the issues of plurality and hybridity.

Black Mirror Dizisinde Nöro-İmge ve Beyin Ekranlar

Author(s): Ömür Şölen Soykan / Language(s): Turkish / Issue: Sp. Iss/2020

Neuro-image is a concept follows movement-image and time-image, generated by Patricia Pisters through Deleuze cinematography in the aim of characterize and clarify the new cinematographic image which has been assemblaged by neuroscientific and cognitive progresses based on the political occasion of demolition of Berlin Wall and 9/11. It belongs to third synthesis of time, future and formed in parallel neuroscienetifical and online internet cultural develepments. It's a cinematographic image is synthesized at the 3th synthesis under the political effect of pre-emptive design of future. The cinematography appeared in 21th century cinema that we see world within characters minds, not through eyes is assemblaged by themes which are given a lead by online and neuroscientific progresses. Patricia Pisters approached this new cinematographic component in the frame of Deleuze-Guattari schizoanalysis, researched in the frame of "brain is screen", brainscreens and conceptualized. In this paper, neuro-image at the 3th synthesis of time, brain screens and cognitive architectures in Black Mirror serial, Netflix, detected and explained in the aim of introducing neuro-image concept to Turkey cinema field and schizoanalysis utilized as a practice.

CLAUDE LÉVI-STRAUSS, JACQUES LACAN I CZAROWNICTWO

Author(s): Michał Żerkowski / Language(s): Polish / Issue: 1/2019

The relations linking cultural anthropology of Claude Lévi- -Strauss to psychoanalysis of Jacques Lacan have not yet been properly criticized in the anthropological literature. Whereas published in 1949 works of psychoanalytically informed Lévi-Strauss played a key part in Lacanʼs “return to Freud” in the spirit of structural linguistics. A closer examination of these texts as well as central concepts of structural anthropology and Lacanian psychoanalysis, taking into account not only the historical development of the latter, but also their ethnographic and clinical sources, raises fundamental questions about falsifiability, consistency, explanatory power and plausibility of structuralist hypotheses. The direction of inspiration was defined and always led from anthropological to psychoanalytic structuralism, although the former was often built on the basis of unjustified analogies, factual inaccuracies and excessive generalizations, and the latter additionally on the basis of manipulations present in both Freud’s and Lacanʼs writings.

Creating a Space of Their Own: Diasporic Women in Ravinder Randhawa’s 'A Wicked Old Woman'

Author(s): Mária Palla / Language(s): English / Issue: 2/2018

A Wicked Old Woman is the first novel published, in 1987, by Ravinder Randhawa, a first-generation immigrant writer of South Asian descent, residing in Britain. In it, she recounts the wanderings of the female protagonist called Kulwant among her friends and family members in London. This fragmented account of her past and present focuses on her desire for identification and struggle in a life lived in between cultures, that of the metropolis and that of her ancestral land on the Indian subcontinent. As the life-stories of Randhawa’s characters unfold, London itself is seen being transformed into a multiracial and multicultural location, becoming the site where fictional hybridization takes place. Hybridity and liminality are experienced in multiple ways in the diasporic space where new identities are formed. While raising the issues of authenticity and colonial stereotypes, Randhawa represents identity as an unfolding process rather than a static given. Her topics also include arranged marriages, mixed marriages, abusive relationships, as well as healing as a communal activity, and the possibilities of accommodation of a diasporic community by the mainstream society.

Deconstruction and Self-reflection – Polish Ethnographic Atlas in the Perspective of Selected Memory Theories: An Attempt at Theoretical Approach

Author(s): Anna Dróżdż / Language(s): English / Issue: 2/2019

The purpose of this text is to critically discuss the method of collecting source materials as part of the Polish Ethnographic Atlas project and the ways to interpret them and to develop innovative interpretation strategies for these data, which until now are stored in the archives of this Atlas. These strategies will allow to use messages that have been rejected in ethnogeographical analyses and interpretations so far. These are primarily the records of spontaneous representations of narratives and the memory of the inhabitants of the village. What determined their significance and the role they played in learning about the reality examined was the fact that they constituted an individualized form of narrative. They were not triggered by a question in any way, so they were unique. These features made comparative studies impossible. Nevertheless, thanks to them, the interpretation of reality contained in the performances gained a context. Understanding the significance of these performances during the research was almost impossible, it took place at the level of the researcher’s intuition. The change of the paradigm allowed to extract a new cognitive value from them and gave the possibility of their redefinition and re-evaluation.

Deconstruction, Logic, and ‘Ordinary Language’: Derrida on the Limits of Thought

Author(s): Christopher Norris / Language(s): English / Issue: 2/2010

This essay argues – contra received opinion amongst disciples and detractors alike – that Derrida’s work is centrally concerned with issues in philosophy of logic and language that have been a main focus of interest for philosophers in the ‘other’, i.e., analytic or mainstream Anglophone tradition. Moreover, it engages them in such a way as inescapably to raise further issues of an epistemological and ontological character that are also very active topics of debate on the analytic side. They include the ongoing dispute between realists and anti-realists with respect to the question whether truth can properly or intelligibly be conceived as transcending the limits of available evidence, present-best knowledge, or attainable proof. My essay sets out the opposing arguments and then makes the case – again strongly counter to the standard view of his work – that Derrida espouses a realist position not only in logico-semantic terms (the terms on which this discussion is most often conducted nowadays) but also as a matter of ontological commitment.Indeed, if this were not the case, then there could be no justification for the claim – implicit throughout his work – that a deconstructive reading can discover (rather than project or invent) hitherto unrecognised complexities of sense and logic. These in turn serve to indicate hitherto unrecognised problems or shortfalls in the current state of knowledge concerning one or other of those numerous topic-areas that Derrida addresses by way of such a reading. Hence his insistence, as against the routine charge, that he is not for one moment rejecting or ignoring the referential component of language but rather pointing up the kinds of complication – the uncertainties of scope or instances of contextual under- or over-determination – which tend to escape notice on other, more simplified or doctrinaire accounts. My essay thus seeks to re-situate Derrida’s work with regard to some of the most prominent debates within present-day analytic philosophy.

Dekonstruktion und Medialität

Author(s): Ulrike Ramming / Language(s): German / Issue: 3/2011

It seems that the media is not subject to philosophical disputes: the media theory is treated as a scholarly discipline, whereas Derrida, in philosophy, treats script as the second to none media. When one reads earlier works by this philosopher more closely, one can notice a subject and reflexive dimension of deconstruction, which shows that Derrida, in his thoughts on a written sign, always raises an issue of constitutive moments that both enable and precede a certain theory. The aforementioned reflexive dimension points to that level of mediality that can be useful for approaching the issue of media in a philosophical fashion.

DELEUZE’O IR GUATTARI GEOFILOSOFIJA PRIEŠ ANTROPOCENĄ

Author(s): Sigita Dackevičiūtė / Language(s): Lithuanian / Issue: 14/2019

The term ‘Anthropocene’, which emerged in the general context of anti-anthropocentric tendencies, has been criticized for its universalization of the subject, for considering human as superior to other species, as well as for its appreciation of geoingeneering solutions to the problems associated with climate change. The article highlights the relevance of the philosophy of Gilles Deleuze and Félix Guatari in the context of these tensions caused by the term ‘Anthropocene’. The Geophilosophy of Deleuze and Guatari proposes a concept of nature which includes dynamic system of layers with transversal interconnections. This system challenges the anthropocentric “hierarchy” of nature. Their theory of artistic becomings connects to specific material bio- or geo- situations and in this way acts against both the universalization of the Anthropocene subject and the universalized visuality of the Anthropocene. The article also discusses art installations created by Olafur Eliasson and Lara Almarcegui which engage in a specific relationship with matter and in this way act against the universalized visuality of the Anthropocene.

Derrida, Chomsky and Wittgenstein: Grammatologist / Grammarian / Grammatist

Author(s): Prakash Kona / Language(s): English / Issue: 4/2011

That there is no fixed point but point(s) of origin is the point of origin of this essay that begins with a play on the word gram. It could be the Derridean gramme or Chomskyean grammar. It could also be “language-game” meant to bring Wittgenstein into the conversation. I used Alfred Hitchcock’s statement on psychoanalysis taken from the 1945 classic “Spellbound” as a point of “origin” for the discussion on grammar. The statement concentrates on the “origins” of the problems of the mind that psychoanalysis hopes to cure. In using Hitchcock, more of artist of language than a language-theorist, I problematize the idea of origin itself; whether it ought to come from a serious-minded philosopher like Freud - the so-called “right” source or a secondary source such as Hitchcock playing with the Freudean idea of psychoanalysis through his narrative. The origin of discussion thus turns out to be a false start. It serves a purpose in showing the apparent nature of the text that psychoanalysis is a construction like any other discourse that dominated Western philosophy from Plato to the present. Yet origin must exist in the literal sense of the term. Freud did off er psychoanalysis as a form of therapy to open the text to meaning - in this case, the text is the human mind itself. In the process, psychoanalysis itself is a multifaceted text that becomes a stage for the entrance of the gram. The idea is to show philosophy as a narrative; the narrative dimension of philosophy and philosophy itself as a form of narration. From a Derridean perspective, the point of origin is a null, which opens the text to diverse readings. It is both the anarchy of the text as well as silence at the heart of language.

Derviş Zaim’in Geleneksel El Sanatları Üçlemesinin Gilles Deleuze’ün Zamanİmgesi Kavramı Açısından Okunması

Author(s): Bihter İşler / Language(s): Turkish / Issue: Sp. Iss/2020

These films are stories that do not depend on cause and effect chains. The irrational cycle of images releases those that the cinematographic image and gives rise to the varied images for the audience. This study analyses Dervis Zaim’s traditional Turkish art trilogy films, Waiting For Heaven (2006), Dot (2008) and Shadows and Faces (2011) within the frame of cinematic elements such as “time perception”, “space” and “characters”. Fixed shots, motionless and static images frequently encountered in Zaim’s trilogy movies cause the opening of the fork defined by Deleuze and appears as a cinematographic element that makes the time image visible. On the other hand, camera movements and shorts are slow, the camera is mostly at an unchanged angle or a fixed camera is used. In this way, the way is made for the ordinary everyday life events. The journey backwards and forwards is used as a technique that enables passage in time. In Waiting for Heaven, the transformation of an image into a miniature, and stopping some single plan scenes in Shadows and Faces within the photo frame is used as a technique for a transition to another time. Continuity in time perception is achieved by shooting Dot in one plan and in one setting. The analysis of his above-mentioned films yielded the conclusion that Dervis Zaim’s trilogy films have the characteristics of the time-image movies.

Droit de vivre et identités biopolitiques

Author(s): Ciprian Mihali / Language(s): French,Macedonian / Issue: 1/2006

Commençons avec l’auteur qui nous guidera tout au long de ce texte, Michel Foucault, et avec l’idée de vie, qui fut présente dans sa pensée depuis la Naissance de la clinique jusqu’à son dernier texte, « La vie: l’expérience et la science »,1 (ré-)écrit quelques semaines avant sa mort. Ce texte, rédigé en l`honneur de son maître, Georges Canguilhem, traite l’idée de vie dans la perspective d’une histoire des sciences et plus particulièrement d’une histoire de la biologie, telle qu’elle commença à s’élaborer au XVIIIe siècle. C’est pourtant un texte philosophique et non pas historique (archéologique), si l’on peut faire pour une fois cette distinction dans le corpus foucaldien. Il l’est ainsi pour au moins deux raisons.

Dyskursy gier wideo

Author(s): / Language(s): Polish / Publication Year: 2019

Niniejsza książka ma formułować propozycję metodologicznego otwarcia groznawstwa,silnie akcentując rolę dyskursu i narracji już w dwóch tekstach otwierających:„Dyskursywne gry i dyskursy gier” Geralda Voorheesa oraz „Poza mitem i metaforą.Przypadek narracji w mediach cyfrowych” Marie-Laure Ryan. Podkreślenie roli narracjii dyskursu umożliwiło również umocowanie pozostałych rozdziałów książki w dwuwzajemnie się dopełniających paradygmatach: teorii i filozofii (w części zatytułowanej„Teorie”) oraz praktyce hermeneutycznej (w części zatytułowanej „Praktyki”), dostarczającychwspólnie narzędzi do krytycznej wiwisekcji uobecniających się w grachpostaw dyskursywnych oraz narracji o świecie, kulturze, religii, filozofii, teologii, ekonomii,płciowości, rasie czy polityce. (...) Problem dyskursów gier wideo oraz dyskursóww grach wideo ujawnia zatem nie tyle bałagan, co niesłychaną produktywność ujęćbadawczych, nieograniczonych sztywnymi normami pojęć, kategorii czy narzędzi teoretycznych,które równolegle odnajdują w grach wydarzenia, znaczenia, języki, komunikaty,idee, ideologie, hierarchie i struktury władzy oraz wykluczenia. Sploty problemowew grach jako formach komunikacji, tekstach czy obiektach kulturowych skłoniłynas do zastosowania formuły liczby mnogiej w określeniu „dyskursy gier wideo” –tak, by unaocznić zarówno potrzebę pluralizacji perspektyw badawczych, jak i odpowiadającejjej różnorodności uobecniających się w grach narracji o świecie, zarównotym nas otaczającym, jak i tym przez gry wytwarzanym.

Emblems or Caricatures? Discourses about Hysteria and Anorexia Nervosa

Author(s): Márta Csabai / Language(s): English / Issue: 2/2002

Statistics published in many different countries seem to point to the fact that women are much more likely than men ask for psychiatric/psychotherapeutic care. Although there is not a clearcut case for saying that more women suffer from psychiatric/ mental illnesses, it seems to be unquestionable that women dominate in particular disease categories: depression, eating disorders, anxiety and phobias . syndromes which were formerly covered by the label .hysteria. (Ussher, 1991).

Encountering the Orient/Islam - Re-Reading Cyber-Narratival Heteronormativity

Author(s): Terenjit Singh Sevea / Language(s): English / Issue: 2/2007

This paper examines how heteronormativity operates as a mechanism of representation in cyber-narratives.1 I insinuate that post-structural analyses should be further appropriated in understanding cyberspace as a realm of power/discipline. Cyber-narratives on the “Muslim woman” for example are complex processes of disciplining into being “mute as ever” (Spivak 1988: 294). This paper ultimately re-reads cyberspace as a heteronormative realm imbricating “sexuality” and “race” (as technologies), and regularly representing the normal/abnormal, white/brown, man/woman as unproblematic, fixed categories (Butler 1990). Paraphrasing critiques of visual filmic narratives, the subsequent sections unravel how cyberspace creates unproblematic gendered and racialized “naked [read objective] bodies” of brown/white/men/women (Jameson 1990: 1). Michel Foucault (1978) and Judith Butler (1990, 1993), in their genealogies of sexuality, have examined how visual objectivity of the body itself are processes of control/discipline. This paper is an endeavour towards adapting such genealogies to cyberspace.

FILM AS A METHOD OF SCIENTIFIC RESEARCH: A LABORATORY FOR POST-MODERN PRACTICES

Author(s): Ligia Smarandache / Language(s): English / Issue: 1/2020

This article posits that cinematic language should be reconsidered and validated as a means of research in the scientific world. It should no longer be seen as simply a disseminator of information, but also as a means of investigating reality. The new trends in cinema, specifically fiction-documentaries use various methods to investigate reality. These methods could be useful in a broader sense, namely in cross-disciplinary scientific research. The postmodern approach to the notion of complexity or narrative knowledge creates a favorable framework for a paradigm shift concerning the analytical and quantifying method of scientific research. Cinema as a medium can be used as a tool and an invisible technology capable of shaping our ideas.