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1.
This essay traces several productive points of overlap and departure between the recent philosophical work of Judith Butler and ecological thinking. While ecological philosophers and theorists have often dismissed Butler's treatment of politics and ethics as narrowly anthropocentric, this essay charges that there are considerable conceptual resources within Butler's oeuvre that are not only in accord with much recent ecological theorising but which also stand to enrich our approaches to ecological thinking and politics. Focusing specifically on three conceptual clusters – exposure and precarity; infrastructure and coexistence; and assemblies and assemblages – this essay demonstrates how Butler's work can be leveraged to augment the ways we approach both ecosystems and our more-than-human cohabitants as elements of and actors within the dynamic play of forces that make coexistence more or less possible.  相似文献   

2.
Since some years back a number of scholars have argued that the analysis in social science, including the analysis of economic life, needs to take materiality into account. In this article, the author suggests that one way to do push the debate about materiality one step further would be to look at the role of the senses in mediating between outside materiality and the inside reality of the actor. Drawing on Georg Simmel's essay The Sociology of the Senses the author suggests how we may look at the senses from a sociological perspective; this article also discusses what an economic sociology of the senses might look like. In order to show the mechanism by which the senses operate when they mediate between outside materiality and inside reality, the author draws on the sign theory of philosopher Charles Peirce. The signs, and what they refer to, come together in the mind of the subject, Peirce argues. They also impact the subject, rather than the other way around.  相似文献   

3.
In 1999, Carruthers and Stinchcombe provided the classic discussion of ‘the social structure of liquidity’: the institutional arrangements that support markets in which ‘exchange occurs easily and frequently’. Our argument in this paper is that the material aspects of these arrangements – and particularly the materiality of prices – need far closer attention than they normally receive. We develop this argument by highlighting two features of new assemblages that have been created in financial markets since 1999. First, these assemblages give sharp economic significance to spatial location and to physical phenomena such as the speed of light (the physics of these assemblages is Einsteinian, not Newtonian, so to speak). Second, they have provoked fierce controversy focusing on ultra-fast ‘high-frequency trading’, controversy in which issues of materiality are interwoven intimately with questions of legitimacy, particularly of fairness.  相似文献   

4.
ABSTRACT

One of the under-theorised aspects of Catherine Malabou’s What Should We Do With Our Brain? is the overtly political project that underpins her discussion of a renewed conception of subjectivity. Malabou's political project is framed in radical and emancipatory terms, and yet the possibilities and limitations that stem from of a neurobiological account of politics have been left under-explored. Can we really locate in the brain a progressive politics, especially in the context of debates around mental illness, when so many groups and individuals are resistant to understanding themselves as their brains? Or is this affirmation of scientific materialism at risk of obscuring the realities and complexities of the materiality of cultural practice? In order to pursue the political consequences of her work, this paper looks to stage an encounter between Malabou's account of neuroplasticity and Lauren Berlant's notion of cruel optimism. This is done in order to ask: do Malabou’s own critiques of neoliberal flexibility run the risk of embracing a neuro-liberalism, in which an optimism regarding plasticity, individual liberty, and compromise between the humanities and life-sciences obscures the political limitations of neuroscience as a site for political-philosophy?  相似文献   

5.
Abstract

Featuring dead celebrities in current advertisements has become a well-known practice in contemporary advertising techniques. Marilyn Monroe sells Sunsilk, John Lennon is a spokesman for One Laptop per Child, Gene Kelly and Donald O'Connor demonstrate the roominess of a Jetta's now larger backseat. To unearth the viability of re-structuring dead celebrities into new advertisements, this article analyzes how phantasms – visual and vocal recordings – speak to the living consumer through the construction of emplotment, a main element of Paul Ricoeur's narrative theory. Particularly, Ricoeur's work on mimesis, metaphors, and memories direct this inquiry for these terms shape a phenomenological understanding of temporality and connectivity with a disembodied other. The goal of such exploration aims to link dead celebrities with the construction and transmission of persuasive messages within an advertising narrative framework.  相似文献   

6.
In its emphasis on the legal technicalities this article is concerned with materiality of financial markets – a key theme in social studies of finance. The paper insists on the importance of local legal culture by articulating this concept in distinction to politics. Focusing on the Amendment to Article 1062 of the Russian Civil Code concerning an important class of financial products – cash-settled currency derivatives – it synthesises the insights of actor-network theory and finitism, and argues that local legal culture is a composite of both distributed agencies and interpretative acts.  相似文献   

7.
Abstract

This essay reads two differing conceptions of subjectivity in Frantz Fanon's work as corresponding to a shift in subjective orientation in certain moments of crisis, from what I term a unified individual – the subject of psychoanalysis – to a dispersed subject, the frenzied participant in collective activity. I believe that such a potential duality within the subject is best adopted when analysing Fanon's oeuvre, as well as when examining a subject's behaviour as participant in forms of unstructured collective protest such as rioting. Whereas the unified subject of psychoanalysis best expresses the consciously self-reflective individual in society, the dispersed subject expresses a subjectivity operating in excess of individualism. This dispersed subject acts collectively, as an object moving in tandem with other objects, without individual reflection. I argue that this shift comprises the initial spark of insurrection suggested in Fanon's work, the moment in which he sees the people pitched ‘in a single direction, from which there is no turning back’; and what Jean-Paul Sartre calls the explosive moment of ‘conflagration’. The two subject positions between which the subject shifts exist as two potential sides of every subject and comprise the ‘Manichean’ world in which Fanon's subject is entrenched.  相似文献   

8.
This paper investigates the workings of institutional logics in practice, by focusing in particular on the interplay between material, practical and linguistic dimensions of practices. In other words, drawing on Bourdieu's sens pratique, the paper explores the logic of practice in the practice of logics through a six months full-time ethnographic study at Il Sole-24 Ore, the largest Italian financial newspaper, between 2007 and 2008. An original conceptual framework is developed to analyse how the logic of journalism is enacted vis-à-vis that of advertising in a setting in which an old technology for news production – print newspaper – coexists with a new one – website – and thus encounters between new and old technological possibilities make workings of institutional logics particularly visible. The findings point out different mechanisms of institutional work dealing with actions that, made possible by new technological possibilities, are potentially, but not necessarily classified as divergent from institutional logics.  相似文献   

9.
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process?  相似文献   

10.
David H. Guston 《Minerva》2012,50(3):363-379
Imagine putting together a jigsaw puzzle that works like the board game in the movie “Jumanji”: When you finish, whatever the puzzle portrays becomes real. The children playing “Jumanji” learn to prepare for the reality that emerges from the next throw of the dice. But how would this work for the puzzle of scientific research? How do you prepare for unlocking the secrets of the atom, or assembling from the bottom-up nanotechnologies with unforeseen properties – especially when completion of such puzzles lies decades after the first scattered pieces are tentatively assembled? In the inaugural issue of this journal, Michael Polanyi argued that because the progress of science is unpredictable, society must only move forward with solving the puzzle until the picture completes itself. Decades earlier, Frederick Soddy argued that once the potential for danger reveals itself, one must reorient the whole of one’s work to avoid it. While both scientists stake out extreme positions, Soddy’s approach – together with the action taken by the like-minded Leo Szilard – provides a foundation for the anticipatory governance of emerging technologies. This paper narrates the intertwining stories of Polanyi, Soddy and Szilard, revealing how anticipation influenced governance in the case of atomic weapons and how Polanyi’s claim in “The Republic of Science” of an unpredictable and hence ungovernable science is faulty on multiple levels.  相似文献   

11.
Drawing on Pierre Bourdieu's theory of aesthetic judgment, this text offers an inductive account of financial reasoning inside a trading room. Driven to maximise bank profits, trading room operators do not find ‘one best way’. Rather they choose among several possible winning strategies: mathematical arbitrage, economic analysis, chartist analysis. These strategies differ sharply from one another in their conception of the market, method, proximity to scholarly knowledge, and legitimacy. We show that the choice of one method depends on a system of tastes and distastes that are both historical – depending on individuals’ social and educational background – and relational – depending on the individual's relative position within the trading room viewed as a field.  相似文献   

12.
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13.
Since the early 1900s, Warlpiri people living in the central desert region of Australia have experienced an intense process of adaption to the changing circumstances of postcolonial life. From the earliest days, their encounters with kardiya, non-Aboriginal people, have been mediated by diverse visual technologies that have, over time, become integral to the ways Warlpiri orient themselves to each other and their wider world. In this paper I trace the key elements of the complex visual environment that has emerged from this history of mediation. The central part of the paper considers events around the repatriation to Warlpiri communities in 2011 of a collection of drawings made in the 1950s by their forebears. In responses to a medium that once was new but now is old, several points of interest emerge, among them a clear sense of a hierarchy of value Warlpiri apply to modes of visual communication. In the context of the return of the drawings, the significance Warlpiri ascribe to other visual media comes to the fore. I consider some of the ways visual forms are deployed in support of public projections of cultural identity on the one hand and everyday modes of expression and address on the other. The paper's central argument is that contemporary Warlpiri attitudes to images – whether they be drawn, painted or broadcast – reveal the complex postcolonial workings of mimetic desire.  相似文献   

14.
Abstract

The essay approaches recent discussions of ‘life’ and biopolitics from the historical context of early 20th century German vitalist thought. By closely analysing the concept of the ‘drive’ in art historian Wilhelm Worringer's Abstraction and Empathy (1908) and Sigmund Freud's Beyond the Pleasure Principle (1920), the essay shows how the paradoxes of those texts prefigure and contribute to the contemporary problematic of ‘life’ in theoretical discourse across the humanities. In Worringer and Freud, the drive is an ‘elastic’ concept stretching beyond – and yet constitutive of – the epistemological object (‘life’) that it is called upon to describe. The distortion of the drive in each author's thought – from an impulse of organic vitality to a principle of inorganic primordiality – manifests the contradictory ‘life’ of vitalist concepts themselves in their elastic potential for transformation, regression and contradiction.  相似文献   

15.
Over the last two decades the field of ‘Girard studies’ – the application of René Girard's theories on mimetic desire and sacrificial violence to cultural artifacts – has tended to focus increasingly on Biblical texts and theological implications of Girard's interpretation of Christianity as a ‘theory of man.’ After summarizing Girardian theory in its current form, this essay stresses the applicability of the theory to François Furet's reading of the crisis of bourgeois culture and to Pascal Bruckner's reading of the malaise of the post Cold War world and the ethnic crises associated with the break‐up of the former Yugoslavia. This essay also demonstrates how Girardian theory illuminates the recent historical and judicial crises associated with France's efforts to come to terms with the memory and legacy of the collaborationist Vichy regime during World War II. The essay concludes with a brief assessment of the advantages as well as the pitfalls of employing Girardian theory to demystify the crises of modernity.  相似文献   

16.
This article examines the role of noise in various aspects of Jean‐Luc Godard's filmmaking practice. Beginning with an analysis of 2 ou 3 choses que je sais d'elle (1966), it suggests that the loud noise on the soundtrack functions to disrupt the search for meaning in this film that is precisely about knowledge and cognition, providing an image of thought as an unpredictable and uncontrollable process. The influence of 1970s theoretical biology and information theory is analysed in Sauve qui peut (la vie) (1979) which applies Henri Atlan's ‘order from noise’ principle to the composition of shots, the construction of scenes and the development of narrative. Finally Godard's presentation of a complex, deterritorialised capitalist economy is considered in Nouvelle Vague (1990), and it is suggested that Godard's creation of aesthetic events – both through editing and through sound design – implies a different conception of temporality to the sequential logic of financial speculation and risk management.  相似文献   

17.
ABSTRACT

This essay focuses on the relationship between culture and governance, exploring how the practice of government has invoked conflicts and crises in the Korean culture industries. The Park Geun-Hye regime used culture as a central engine to boost Korea's national economy by adopting the new slogan, ‘Creative Korea’, to embody the country's national values within the international community. However, the regime's constant emphasis on creative economies came under attack when it was discovered that the Ministry of Culture and Tourism abused its authority by censuring 9,473 artists who were critical of the regime. Through an analysis of journalistic interviews with artists, critics and cultural practitioners, this paper examines how the relationships of governmentality, culture and creativity have been negotiated in the process of regime change. In addition, this paper explores how the Korean Wave phenomenon – the transnational expansion of Korean popular culture – during the past two decades has reshaped the society's perception of the governor–governed relationship within the cultural sphere.  相似文献   

18.
Abstract

Using sources from popular media, and ethnographic data collected from a university‐based urban design studio, I challenge Paul Virilio’s assertion that the modern human condition is dominated by a process of emotional synchronisation based on fear (the result, according to Virilio, of a collusion of technology and speed), and offer the analogous idea that contemporary consumer capitalism works toward a synchronisation of desire, operating, at least in part, through the ideologies and machinations of the idea of design. To do this, I analyse designerly approaches to problem‐solving as potential disciplining forces, or technologies of governmentality, which help to create order by manufacturing certain subjectivities like consumer, community member, or sense‐of‐place – subjectivities that are amenable to neo‐liberal notions of civil society in consumer‐capitalism. Ultimately, I argue that Virilio’s ‘art criticism of technology’, but also common critiques thereof, both depoliticise aesthetic judgement and work together toward the obfuscation of power within the symbolic economy of neo‐liberal consumer capitalism.  相似文献   

19.
Abstract

This essay revisits the question of post-Shoah responses to cataclysm in light of the now-urgent question of transmission – the shift in mourning and memory between first-generation survivors and later generations. Offering a different but complementary analysis to those in trauma or memory studies, I argue that post-Shoah witness and testimony are acts of ‘irreconcilable mourning’. This sense of mourning departs from post-Freudian approaches that focus on closure. Instead, irreconcilable mourning is a non-totalising approach to loss that resists ‘redemption’ and instead necessitates an ongoing, creative, and critical response to loss. In the course of this argument, I examine first-generation accounts such as Primo Levi's and Elie Wiesel's to highlight the necessity and contingency of transmission by interrogating concepts such as the ‘unsayable’ and the remnant. I then focus on Art Spiegelman's second-generation Maus: A Survivor's Tale, bringing cross-generational questions of witness and testimony as acts of irreconcilable mourning into the fold of Marianne Hirsch's ‘postmemory’ and Edith Wyschogrod's heterological history-telling.  相似文献   

20.
The history of spiritualist sound experiments – from nineteenth‐century ‘trumpet manifestations’ to contemporary ‘electronic voice phenomena’ – represents a sustained engagement with electrical noise and its psychic, linguistic, and media‐technological implications. While the study of noise generally focuses on music and cinema sound, in which its transgressive nature is often recuperated back into artistic production, spiritualist efforts to record so‐called transmissions from the dead illustrate the ways in which noise resists conscious mediation or artistic representation. A closer study of their methods and practices shows that the real, physical‐acoustic nature of voice phenomena even resists the spiritualists' own attempts to translate and interpret these noises as coherent ‘messages’. Through an examination of the history of spiritualist sound experimentation in the Nineteenth Century and its continued practice following the development of the radio and tape recorder in the Twentieth Century, this paper argues that the spiritualists' enduring fascination with noise exposes the connections between sound technologies, psychic phenomena and schizophrenic hallucinations which pose a threat to the autonomy and integrity of the listening and speaking subject.  相似文献   

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