Pour saisir les enjeux de la lutte au quotidien des Gilets jaunes et la transformation des identifications qu’elle opère, nous proposons d’analyser la manière dont les temporalités de l’événement en jaune structurent la vie quotidienne des protagonistes et scandent les temporalités familiales comme celles liées au travail et au loisir. Nous suivrons les mutations profondes de leurs formes d’engagement, l’appropriation des pratiques militantes au fil des semaines de cette séquence de protestation, ainsi que les processus de désagrégation longs du mouvement (...) qui mèneront à la disparition de certaines _configurations sociales localisées_. L’article s’appuie sur une recherche localisée qui dure depuis le 17 novembre 2018. À partir d’une lecture « par le bas », nous resserrons particulièrement la focale sur les trajectoires militantes de quelques Gilets jaunes. Ces protagonistes présentent trois caractéristiques : une mobilisation qui s’inscrit dans la durée ; la centralité de certains d’en... (shrink)

Contemporary protest movements are skeptical of mainstream media outlets, and so to communicate, they make extensive use of social media such as YouTube, Instagram and Twitter. Most research to date has considered how protest movements, as preexistent entities, use such social media to communicate with stakeholders, but little, if any research, has considered how a protest movement is constituted in and through communication. Using the Montreal School’s ventriloquial approach to communication and using YouTube video footage of the gilets (...) jaunes – a contemporary French protest movement – in action, the purpose of this article is to explicate how a protest movement that resists the state’s authority is constituted in and through a textual artifact. Findings indicate that the protest movement is not only discursively constructed through the commentary that accompanies the video, but it is also constituted by non-human actants such as space, buildings and clothing. The protest movement mobilizes networks of human and non-human actants that invoke a moral authority that resists legally authorized state-sponsored networks which are also made up of human and non-human actants. (shrink)

This article theorizes the connection between political distrust and conspiracy theories through a post-political framework. Following Luc Boltanski’s focus on the critical capacities of ordinary actors, it builds on interviews with participants of the Yellow Vest Movement in France who hold conspiratorial views of Covid-19 and the vaccine. The article explores how the interviewees’ critique mirrors that of post-political theorists. In particular, I use Rancière’s notion of subjectification and politics to theorize how conspiracy theories function as a means of (...) dissent in the interviewees’ understanding of their experiences as well as in their own critique of and disillusionment with politics in France. As such, this article explores how political trust affected reactions to the pandemic, how political trust is interconnected with conspiracy theories and finally how such conspiracy theories can be viewed as biproducts of the post-political order. (shrink)

The analysis of events has been a central issue for social sciences for a long time. The problem of an event's definition and distinction is still at stake in sociological debates. The purpose of this paper is to demonstrate the contribution of Paul Ricoeur's narrative theory to social events studies. First, this is done through the explication of the concept in the framework of narrative approach. Secondly, the paper highlights the narrative's capacity of 'refiguring' the social by (...) re-describing social events, subordinating their succession to the logic of story-telling and transforming temporal characteristics as well. Apart from some insights, interpretative explanations and illustrations the paper provides critical arguments concerning the limitations of Paul Ricoeur's narrative approach with respect to sociological event-analysis. L'analyse des événements a toujours été une question centrale pour l'histoire et les sciences sociales. Le problème de la définition et de la distinction des événements est encore en jeu dans les débats sociologiques contemporains. L'objectif de cet article est de s'attarder sur la contribution de la théorie de Paul Ricœur aux études des événements sociaux. Après avoir montré les limites d'une conception impersonnelle de l'événement, l'auteur se penche sur la solution narrative proposée par Ricœur, à savoir la capacité du récit à “refigurer” du Social par la re-description des événements sociaux. Il s'agit de soumettre la logique de la succession temporelle à la logique de la narration. Tout en rendant justice à la valeur heuristique de telles analyses (à travers une série d'explicitations et d'illustrations), l'article pointe les limites de l'approche narrative de Paul Ricœur au regard des analyses sociologique des événements.  . (shrink)

Contemporary philosophy of technology, in particular mediation theory, has largely neglected language and has paid little attention to the social-linguistic environment in which technologies are used. In order to reintroduce and strengthen these two missing aspects we turn towards Ricoeur’s narrative theory. We argue that technologies have a narrative capacity: not only do humans make sense of technologies by means of narratives but technologies themselves co-constitute narratives and our understanding of these narratives by configuring characters and events in a (...) meaningful temporal whole. We propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermeneutic distinctions. Firstly, we consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation. Secondly, we consider the extent to which technologieshave the capacity to abstract from the public narrative time of actual characters and events by constructing quasi-characters and quasi-events, thereby introducing the social in our conception of technological mediation. This leads us to the outlines of a theory of narrative technologies that revolves around four hermeneutic categories. In order to show the merits of this theory, we discuss the categories by analysing paradigmatic examples of narrative technologies: the bridge, the hydroelectric power plant, video games, and electronic money. (shrink)

Narrative and the real world are not mutually exclusive. Life is not a structureless sequence of events; it consists of complex structures of temporal configurations that interlock and receive their meaning from within action itself. It is also not true that life lacks a point of view which transforms events into a story by telling them. Our focus of attention is not the past but the future, because we grasp configurations extending into the future. Action involves the adoption of an (...) anticipated future-retrospective point of view on the present. The actions of life can be viewed as the process of telling ourselves stories. The retrospective view of the narrator is an extension and refinement of a viewpoint inherent in action itself. Because storytelling is a social activity, the story of one's life is told as much to others as to oneself. Social human time, like individual human time, is constructed into configured sequences. The practical first-order narrative process that constitutes a person or a community can become a second-order narrative whose subject is unchanged but whose interest is primarily cognitive or aesthetic. (shrink)

Human articulated motion can be readily recognized robustly even from impoverished so-called point-light displays. Such sequence information is processed by separate visual processing channels recruiting different stages at low and intermediate levels of the cortical visual processing hierarchy. The different contributions that motion and form information make to form articulated, or biological, motion perception are still under investigation. Here we investigate experimentally whether and how specific spatio-temporal features, such as extrema in the motion energy or maximum limb expansion, indicated by (...) the lateral and longitudinal extension, constrain the formation of the representations of articulated body motion. In order to isolate the relevant stimulus properties we suggest a novel masking technique, which allows to selectively impair the ankle information of the body configuration while keeping the motion of the point-light locations intact. Our results provide evidence that maxima in feature channel representations, e.g., the lateral or longitudinal extension, define elemental features to specify key poses of biological motion patterns. These findings provide support for models which aim at automatically building visual representations for the cortical processing of articulated motion by identifying temporally localized events in a continuous input stream. (shrink)

An account of the development of temporal understanding is proposed which links such understanding with the development of episodic memory. We distinguish between different ways of representing time in terms of the kinds of temporal frameworks they involve. Distinctions are made between frameworks that are perspectival or nonperspectival and those that represent recurrent sequences or particular times. Even primitive temporal understanding integrates both perspectival and nonperspectival components. However, since early frameworks are event-based and localized, they are not yet sufficient (...) for episodic memory in that they do not enable the child to think of events as having occurred at particular points in time. We describe the emergence of new kinds of frameworks in terms of the development of temporal decentering. Two levels of temporal decentering are distinguished, with the higher level involving an appreciation of how event representations depend on one's temporal perspective. (shrink)

This article offers a Nietzschean theory of digital will to power to conceptualize the temporality of social media feeds run by algorithms. Stylistic and methodological temporalities of Nietzsche are discussed as well as their influence in subsequent social theory of political technologies. The paradox of heavy investment in both subjective expression and nonhuman temporalization in social media milieus is addressed with the concept of an event-without-witness drawn from Nietzsche’s account of himself as the solitary thinker of (...) catastrophe of nihilism and psychoanalytical and deconstructive literatures on the catastrophes of the 20th century. Nietzsche’s fundamental resistance to and fascination with the philosophical and cultural modes of mummyfication, i.e. eternalization as an expression of the will to power is used to think the will to power in the creative algorithmic temporalization of social interactions through the selection, distribution and serialization of data for social media feeds. (shrink)

Militant modern atheism, whose most eloquent champion is Richard Dawkins, provides an effective and necessary critique of fundamentalist forms of religion and their role in political life, both within states and across national boundaries. Because it is also presented as a more general attack on religion (tout court), it has provoked a severe reaction from scholars who regard its conception of religion as shallow and narrow. My aim is to examine this debate, identifying insights and oversights on both sides.Two (...) distinct conceptions of religion are in play. For Dawkins and his allies (most notably Dan Dennett) religions are grounded in doctrines, propositions about supernatural entities, events and processes which the devout believe. Their beliefs prompt them to actions, which they support or rationalize by reference to the doctrines. Dawkins and Dennett view the acceptance of the doctrines as resting on cognitive misfiring — these are delusions to be outgrown or spells to be broken.By contrast, the religious scholars who criticize the militant atheists often view religion as centered in social practices that inform and enrich human lives. To the extent that there are doctrines that atheists might subject to epistemic evaluation, these are to be viewed as pieces of scaffolding, that are, in principle, dispensable.I argue that militant modern atheism is incomplete (and likely counter-productive) so long as it fails to attend systematically to the roles religion fulfills in human lives. Yet it is important to achieve public clarity about the literal falsehood of the doctrines on which fundamentalists rely. The challenge is to develop a well-articulated and convincing version of secular humanism. Meeting that challenge is, I claim, one of the central problems of philosophy today. (shrink)

This paper examines the current interest in ‘art activism’, 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. 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. 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’ : 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, 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’. 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 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 which conceals the formative ‘rage’ of disobedience. (shrink)

Research on temporal comparison has shown that people dissociate themselves from their past to attain a positive self view. Social comparison research has demonstrated that the distinctness of contextually activated information determines whether a recalled self exerts assimilation or contrast effects on the current self. However, hardly any study addressed individual differences. Also, very little is known about whether the ease or difficulty to date past events and experiences influences current self-judgments. We present a new scale capturing the degree (...) of the current self time extension. Three studies support the notion that temporal self-extension determines how past selves are accessed and processed, regarding both the abstractness with which self-knowledge is retrieved and the experienced temporal distance to the past. These findings have important implications for temporal as well as social comparison processes. (shrink)

Definition of the problem In light of the ubiquitous role of time in human life, the importance of time for medical practices and for the ethical reflections of these practices seems all too obvious. However, the growing number of ethical reflections on temporal implications of medical practices all too often lack a systematic understanding of time. Aim of the article This article therefore aims to provide a map of temporal distinctions which should be both of theoretical interest and of practical (...) and ethical relevance. Procedure Starting with the fundamental distinction between time and temporality, four temporal dimensions will be discussed: linear time as chronological order of events, intersubjective time of social interactions, the cyclical temporal structure of biological rhythms and social routines, and the biographical time of the past, present and future of a single life, its finiteness and irreversibility. The article elucidates these distinctions from the perspective of different philosophical approaches and outlines how temporal distinctions may help to better understand the ethical importance of time in the realm of medicine. (shrink)

Badiou's philosophy of the ‘event’ has itself become an event of sorts for contemporary social and political theory. It has broken radically with a set of propositions concerning the operation of power, the status of knowledge, and the possibility of action that were for some time considered nearly unquestionable, in many ways defining what Badiou might call ‘the state of the situation’. After briefly outlining the manner in which Badiou's reinvigoration of the concept of ‘truth’ constitutes a serious challenge (...) for the politics of difference and the ethics of alterity, this paper explores the significance for educational philosophy of what, borrowing from Jacques Rancière, Badiou calls the ‘axiom of equality’, or the notion that, in democratic politics, ‘equality must be postulated not willed’. I suggest that this axiom is best understood when read in relation to Rancière's The Ignorant Schoolmaster, and thus explore an intrinsic link between Badiou's more obscure philosophical claims and political assertions on the one hand, and the question of education on the other. I further propose that the limitations of Badiou's criticism of Rancière's work, which suggests that he stops short of locating an effective political subject who might oppose the parliamentary state, are revealed most explicitly when we reassess Rancière's approach to education in The Ignorant Schoolmaster, and in his more recent work on political aesthetics. Ultimately, however, I conclude that a truly democratic approach to education will have to learn from both Badiou and Rancière, and take seriously the ‘axiom of equality’. (shrink)

In this Introduction, we offer, in the first section, a brief sketch of events before turning to track the profound innovations in militancy and theory that Le Group d'information sur les prisons (The Prisons Information Group, the GIP) and its work represent. In the second section, we explore the GIP’s prisoner-centered and largely prisoner-led structure, predicated on the recognition that prisoners have the political knowledge and political agency most relevant to prison resistance movements. In the third section, we trace the (...) GIP’s concomitant reconceptualization of the prison and the intellectual, both of which it embeds in a shared social field of which the former is symptomatic and to which the latter is beholden. In the fourth section, we develop the GIP’s anti-carceral, even abolitionist, legacies implicit within these innovations of militancy and theory, as well as across its archive more generally. Finally, in the fifth section, we close by sketching the GIP archive’s critical reception to date and then carve out new frontiers of interpretive debate in light of contemporary incarceration practices and developments in anti-carceral theory. (shrink)

Fieldwork involves imagination, social encounters and a recognition of feelings, emotions, in observer and observed. As with ‘ the field’ itself, emotions and encounters are dynamically temporal, whether they are observed, or felt by the investigator, or described by interlocutors. If we want to develop anthropological work on emotions and their significance, we must be aware of the layers of interpretation that mediate between a fieldwork event and its often manifold recensions. ‘Writing up’ therefore requires consideration of how to (...) (re-) present persuasive accounts and analyses: examples are discussed of such modes in different media and the role of mediators in academic descriptions of emotion. (shrink)

This article considers ethnographic field research in order to analyze the violence and exploitation inherent to our transnational agro-food system and the ways in which temporality and statistics may aid in making visible and invisible certain experiences of migrant farmworker injury as well as individual and collective actions for wellbeing. Based in long-term, in-depth ethnographic research, this article utilizes theories of temporality and events in order to highlight social and health inequalities in agricultural labor and encourage agricultural, food and (...) health scholars to consider critically the effects of our methods. Juxtaposing the injury and health care experiences of one Mexican migrant farmworker with statistics on the health and health care of migrant and seasonal farmworkers more generally, the article confronts both the normalization of migrant farmworker injury and the taken-for-granted helpfulness of quantitative and qualitative research alike. In addition, the argument acknowledges the everyday, individual practices and collective actions migrant farmworkers engage into demand and build wellbeing for themselves, their families and beyond. (shrink)

In this article, I propose a phenomenological account of historical experience, aimed at showing how people directly experience an event as being historical. After examining the only previous phenomenological account, David Carr’s Experience and History, and exploring its limits, I present my own contributions. My analysis focuses on the features of three main concepts or “moments”: eventfulness, substantiality, and narrativity. Considering the transcendent character of historical experience in the moment of eventfulness brings three features to light: initial incomprehensibility, need for (...) categorization, and memorability. The concept of “substantiality,” on the other hand, shows how a historical event is felt as a moment of change. History is perceived as a structure shaping a community and whose unity seems irremediably shattered. Three features of historical change are explored: threatened identity, broken temporality, and emphasized belongingness. Lastly, I look at the decisive role of the gradual transformation of past beliefs and expectations as it occurs “narratively,” revealing a further two features of historical experience: narrative justifications and uncertain new normativity. Dealing narratively with a historical event means providing justifications for how it constitutes a new configuration of practices and ideas foreshadowing the now uncertain future. (shrink)

This essay explores the unique temporal experience in anxiety. Drawing on first-person accounts as well as examples from literature, I attempt to show how anxiety not only disrupts our physiological and cognitive timing but also disturbs the embodied rhythms of everyday social life. The primary goal, however, is to articulate the extent to which human existence itself is a temporally structured event and to identity the ways that anxiety disrupts this structure. Using Martin Heidegger’s account of human existence as (...) a point of departure, I show how the mood of anxiety has the power to alter our self-interpretations by closing down or constricting our experience of the future. I argue that a constricted future impedes our ability ‘to be’ because it closes off the range of projective meanings that we would ordinarily draw on to create or fashion our identities. (shrink)

Research on brain or cognitive/affective processes, culture, social interaction, and structural analysis are overlapping but often independent ways humans have attempted to understand the origins of their evolution, historical, and contemporary development. Each level seeks to employ its own theoretical concepts and methods for depicting human nature and categorizing objects and events in the world, and often relies on different sources of evidence to support theoretical claims. Each level makes reference to different temporal bandwidths (milliseconds, seconds, minutes, hours, days, (...) months, years, decades, and centuries) and focuses on different spatio-temporal activities and controlled and non-controlled stimulus conditions. Biological mechanisms and environmental pressures for survival simultaneously created a gradual intersection and enhancement of cognitive/affective skills, cultural practices, and changes in collaborative social interaction and communicative skills. The evolution of a given level of analysis is assumed to have been incremental and overlapping. These innovative and independent ways humans have learned to characterize their brain or cognitive/affective and social/economic/political life often depend on unexamined, representational re-descriptions or cognitive/affective and socio-cultural devices and forms of communication that facilitate the depiction of practices and beliefs we attribute to respondents or subjects and research colleagues. (shrink)

_ Source: _Volume 47, Issue 1, pp 1 - 18 This essay addresses time’s dissemination both in the sense of an undoing or fracturing of unifying conceptions of time, as well as in the sense of ‘scattering seeds’ by conceiving of manifold temporalizing configurations of living beings, things, and events without an overarching sense of time. After a consideration of traditional conceptions of time, this essay explores the notion of duration in Bergson in order to make it fruitful for thinking (...) duration without centering it in human consciousness. The author suggests that we can begin to think the temporal happening of things and events in terms of different temporal configurations of various degrees and qualities of complexity that may be occasioned by chance, whereby chance is understood as the freeing of time-spaces of indeterminacy in which temporal configurations take shape or manifest themselves. 1. (shrink)

Insurgent Universality offers a novel attempt to access history through a problematisation of the notion of universalism. Its main argument is based on three notions articulated in revolutionary events: temporalities, universality and insurgency. In this article we review their theoretical aspects, comment on their limitations, and outline potential reformulations.

This paper considers how 5- to 11-year-olds’ verbal reasoning about the causality underlying extended, dynamic natural processes links to various facets of their statistical thinking. Such continuous processes typically do not provide perceptually distinct causes and effect, and previous work suggests that spatial–temporal analysis, the ability to analyze spatial configurations that change over time, is a crucial predictor of reasoning about causal mechanism in such situations. Work in the Humean tradition to causality has long emphasized on the importance of statistical (...) thinking for inferring causal links between distinct cause and effect events, but here we assess whether this is also viable for causal thinking about continuous processes. Controlling for verbal and non-verbal ability, two studies administered a battery of covariation, probability, spatial–temporal, and causal measures. Results indicated that spatial–temporal analysis was the best predictor of causal thinking across both studies, but statistical thinking supported and informed spatial–temporal analysis: covariation assessment potentially assists with the identification of variables, while simple probability judgment potentially assists with thinking about unseen mechanisms. We conclude that the ability to find out patterns in data is even more widely important for causal analysis than commonly assumed, from childhood, having a role to play not just when causally linking already distinct events but also when analyzing the causal process underlying extended dynamic events without perceptually distinct components. (shrink)

The author argues that behind the apparent randomness of interactions between cabdrivers and their fares in Warsaw is a temporal structure. To capture this temporal structure, the author introduces the notion of a linking ecology. He argues that the Warsaw taxi market is a linking ecology, which is structured by religious time, state time, and family time. The author then focuses on waiting time, arguing that it too structures the interactions between cabdrivers and their fares. The author makes a processual (...) argument that waiting time has been restructured by the postsocialist transformation, but only because this transformation has been continually encoded through the defensive and adaptive strategies of cabdrivers responding to the repetitive and unique events located across the social space. The author concludes with the claim that linking ecologies are a recurring structure of the social process and that they form the backbone of globalization, financialization, and mediatization. (shrink)

In this paper, we engage in a philosophical investigation of how blockchain technologies such as cryptocurrencies can mediate our social world. Emerging blockchain-based decentralised applications have the potential to transform our financial system, our bureaucracies and models of governance. We construct an ontological framework of “narrative technologies” that allows us to show how these technologies, like texts, can configure our social reality. Drawing from the work of Ricoeur and responding to the works of Searle, in postphenomenology and STS, (...) we show how blockchain technologies bring about a process of emplotment: an organisation of characters and events. First, we show how blockchain technologies actively configure plots such as financial transactions by rendering them increasingly rigid. Secondly, we show how they configure abstractions from the world of action, by replacing human interactions with automated code. Third, we investigate the role of people’s interpretative distances towards blockchain technologies: discussing the importance of greater public involvement with their application in different realms of social life. (shrink)

The central claim here is that the self is an emergent experiential, information processing and behavioral system that arises reflexively in the conscious subject and a body setting that is organized and primed with many of the required processes in place. These processes and their associated functions represent our world as coherent and temporally unified within the construct of a developing and roughly continuous experiencer-agent, or self. These representations are not, however, copies of the external world. In this way, selves (...) develop as temporal subjects; as active and complex informational, dispositional, belief-driven and memory-driven configurations of mental states with unique (personal) properties that interact. They are robust and pivotal subsystems of our global mental organization and are suffused with the phenomenality of perception. As constructs in internal and external time, selves have histories, memories, beliefs, skills, cognitive capacities, attitudes, standpoints, social and emotional equities, pre-dispositions and default responses. Yet they are neither causally nor ontologically reducible to their embodied physical states. They are, rather, implemented in them. The body, I maintain, is a necessary but insufficient condition for the occurrence of a self. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 7, Page 1014-1034, September 2022. The plural, impure or discordant nature of time has become an important theme in recent critical social and political theory. Against Althusser’s dismissal of Sartre’s presumedly Hegelian understanding of time and history, this article establishes Jean-Paul Sartre as a key figure in this debate on the plurality of temporalities. Especially in the Critique of Dialectical Reason, Sartre understands history and the social in terms of (...) a multiplicity of uneven and non-synchronous temporalisations, rejecting an notion of time as a universal container within which events take place. The originality of Sartre’s approach is that it establishes a link between the notion of the plurality of temporalities and the problem of freedom and domination. His mature social and political theory allows us to understand temporalisation as a strategy for domination, and objective social temporality as key to a form of anonymous or structural domination. A reconstruction of this highly complex and sophisticated approach to thinking domination through time can also shed an original light on the temporal dimension of democracy and totalitarianism. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can (...) be meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

This essay contributes to critical reflection on the extensive role that medicine has played, and continues to play, in establishing and maintaining the uniquely modern form of social order that Foucault described as “governmentality.” It does so by linking Foucault’s later work on governmentality and biopower, from his courses at the Collège de France in the late-1970s, with his early work on the crucial role that pathological anatomy played in founding modern medicine, which was presented in one of his (...) first books, The Birth of the Clinic (1963). The link between these two stages of Foucault’s work is the central role that death has played in the development of both modern medicine and the art of governing populations. After establishing this connection, I extend Foucault’s analysis by examining the anatomical practices of the three centuries prior to the period upon which he focused in The Birth of the Clinic. This examination of anatomical practices from the sixteenth through the turn of the nineteenth century not only expands the temporal framework through which Foucault examined modern medicine, but also provides a clear and instructive example of the historical development of governmentality. This expansion of Foucault's analysis further illuminates the unique historical configuration of death, medicine, and power upon which modernity is grounded, and suggests ways in which many recent bio-ethical dilemmas, such as the right to die movement, may disrupt this configuration. (shrink)

This article develops a notion of the ‘politics of time’ in order to analyse the effects that imaginations of future emergencies have in the fields of law and economy. Building on Niklas Luhmann’s theory of social time, it focuses on the multiplex temporalities in contemporary society, which are shown to interact differently with the ‘emergency imaginary’. We demonstrate that the apprehension of the future in terms of sudden, unpredictable and potentially catastrophic events reinforces current modes of producing financial (...) futurity, while it undermines the procedural rhythm and retroactive sentencing of liberal law. As a whole, the article supplements the analysis of the ‘politics of truth’ prevalent in the current debate about precaution and pre-emption with a theoretical perspective on social temporality. (shrink)

This is the second article of a two-article series and is labeled Part II. In this article, we pick up where we left off on a clos reading of Division Two of Heidegger’s greatest work, Being and Time (1927). In the first article labeled Part I, we executed a granular analysis of a few lines and phrases in section 65 in Chapter III, section 69 in Chapter IV, and sections 72 and 74 in Chapter V on ‘primordial ecstatic, finite, unified, (...) authentic temporality’ (Heidegger 1962, 380) and ‘equiprimordiality of the unity of the ecstases’ (Heidegger 1962, 378), ‘the whitherings and horizontal schemas’ (Heidegger 1962, 416), and the ontological distinction of movement/Bewegtheit and the Western metaphysical tradition on spatialized motion/Bewegung (Heidegger 1962, 427) respectively. Attempting to show the connectedness of these problems in a manner different from Being and Time itself required a bracketing of how we renew our engagement with Plato, Aristotle, and Hegel even after Heidegger’s attempted ‘destruction’ (Heidegger 1962, 41) of the ontological and metaphysical traditions of the West. In Part I, we attempted to resume the possibility of an abstract metaphysical undertaking about a four-dimensional temporality that Heidegger could not and did not articulate in Being and Time. In this follow-up article labeled Part II, we will attempt a direct appropriation of Hegel’s The Science of Logic (1813-1816), particularly on his enigmatic introduction to the term ‘quadruplicity’ (Hegel 2010, 746) that comes at the very end of his greatest and most complex work. We will try to outline the possibility of articulating the very being of time as an interrelations-movement event beyond the succession and simultaneity of two things. This conceptualization is non-spatial, never an object of representation, intuition, or the imagination, and not reducible to the predominance of the present as the ‘now’ point. We see this work as one long preface to our own independent possibility, apart from Heidegger and Hegel, to articulate a heretofore unknown speculative phenomenological theory of four-dimensional time. (shrink)

The plural, impure or discordant nature of time has become an important theme in recent critical social and political theory. Against Althusser’s dismissal of Sartre’s presumedly Hegelian understanding of time and history, this article establishes Jean-Paul Sartre as a key figure in this debate on the plurality of temporalities. Especially in the Critique of Dialectical Reason, Sartre understands history and the social in terms of a multiplicity of uneven and non-synchronous temporalisations, rejecting an notion of time as (...) a universal container within which events take place. The originality of Sartre’s approach is that it establishes a link between the notion of the plurality of temporalities and the problem of freedom and domination. His mature social and political theory allows us to understand temporalisation as a strategy for domination, and objective social temporality as key to a form of anonymous or structural domination. A reconstruction of this highly complex and sophisticated approach to thinking domination through time can also shed an original light on the temporal dimension of democracy and totalitarianism. (shrink)

Depuis 2011-2012, les milieux de migrants russes en France se mobilisent politiquement. On peut observer, d’une part, une mobilisation liée aux mouvements de protestation en Russie à la suite des élections jugées « truquées » et, d’autre part, une mobilisation encouragée par la politique de l’État russe envers « ses » émigrés. L’histoire, le passé, jouent un rôle primordial dans ces mobilisations. Du côté des autorités russes, les concepts et moments clés de l’histoire nationale sont mobilisés pour une construction consensuelle (...) qui est par la suite « imposée » aux migrants, perçus comme les messagers de la parole des autorités russes dans les pays d’accueil. Cependant, cette reconstruction historique par l’État russe se confronte à des contradictions qui sont à la fois internes au projet de l’État russe et relatives aux temporalités subjectives des migrants. Ces dernières fournissent autant de contrepoints et de formes de contestation, explicite ou non, au récit historique unifié que s’efforcent de bâtir les autorités russes. Ces temporalités subjectives se traduisent par des identifications : avec les années 1990 qui, dans le discours politique sur l’histoire russe, sont perçues comme des « années noires » ; avec une « classe sociale » qui appartient au passé ; et enfin, avec des segments spécifiques de l’histoire et de l’espace russes, loin des conceptions totalisantes forgées par le projet extraterritorial des autorités. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ethics and Time: Ethos of Temporal Orientation in Politics and Religion of the Niger DeltaMelissa BrowningEthics and Time: Ethos of Temporal Orientation in Politics and Religion of the Niger Delta Nimi Wariboko Lanham, Md.: Lexington Books, 2010. 193 pp. $60.00In Ethics and Time: Ethos of Temporal Orientation in Politics and Religion of the Niger Delta, Nimi Wariboko offers a new definition of temporal orientation, arguing that this new (...) understanding of time can help us rethink social ethics, particularly economic ethics. He begins by citing literature showing that temporal orientation has always been used to speak about how a sociocultural group sees itself in light of a “time or origin” (such as a sacred past) or “time preference” (such as a preference for past, present, or future). Wariboko proposes a third way, redefining temporal orientation as a break or clearing in time between the past and the future—a kairos event. He goes on to say that understanding how members of a sociocultural group understand time is essential to understanding how they see themselves and their moral sources.Wariboko speaks of temporal orientation in terms of “time gaps,” contending that freedom and new beginnings are found within these gaps. Suggesting that these gaps are important to the process of defining subjectivity—since human beings live in a time-defined gap between birth and death—he coins the term “chronomethics” to refer to a new methodology where ethics is studied [End Page 213] through the lens of temporal orientation with attention to the analysis of cultural forms.Wariboko provides an exemplar of this methodology by doing an in-depth analysis of the Kalabari community of the Niger Delta in southern Nigeria. Through the use of ethnography, Wariboko explores politics, religious imagination, apocalypticism, and the philosophy of history in Kalabari beliefs and practices—setting African studies in dialogue with Western philosophy and theology. Here, and throughout the book, he draws heavily on the work of Hannah Arendt in his analysis.Although this ethnographic analysis makes an important contribution to ethical reflection, it is not without problems. Wariboko focuses almost exclusively on the chiefs of the Kalabari community, using both male language and male concepts. When Wariboko moves to a discussion of traditional Kalabari religion, he speaks mainly of the male or neuter aspect of God (which is called So, or so) and only briefly mentions the female aspect (Teme-órú). This leaves the reader to wonder whether the actors and agents Wariboko refers to include women. In sum, his descriptive analysis of Kalabari culture lacks a critique of patriarchy, which should be present in any analysis that seeks to make a contribution to Christian ethics.Perhaps the most significant contribution of the book is found in its chapter on imagination. Here Wariboko examines the ways in which the Kalabari people imagine their own society and construct a moral imagination. He pays significant attention to African conceptions of community and the ways in which individuals relate to their communities. Although Wariboko contributes an important original voice to this dialogue, this voice could be strengthened by incorporating the voices of other African philosophers and theologians rather than relying primarily on Western sources in his analysis of Kalabari culture.The book concludes by relating the newly proposed methodology (and to some extent the ethnography) to concrete applications within the realm of economic development. Here Wariboko focuses on the “kairos-ordering of society,” arguing that economic development will only be attained when the state maintains the rules of just conduct, nurtures kairos, develops human capabilities, embraces pluralism, and uses social practices to disperse knowledge. Although this final section is brief, it invites further reflection by delineating how temporal orientation could be used as a new methodology for Christian ethics. [End Page 214]Melissa BrowningLexington Theological SeminaryCopyright © 2012 The Society of Christian Ethics... (shrink)

The Anthropocene debates are rooted in epistemological differences. Geologists seek temporal markers of spatially even anthropogenic impact. Thus, they favor geologic data that fit this category. Humanists and social scientists, on the other hand, tend to focus on the negative effects of spatial unevenness. Without linking the Anthropocene’s temporal and spatial components, the official designation, ultimately determined by geologists, will be a futile exercise that will not make good on the Anthropocene Working Group’s intention for it to be useful (...) for wider segments of society. However, if the Anthropocene is divided into an Early, Middle, and Late Anthropocene, each defined by geologic evidence, the uneven spatial distributions of anthropogenic damage can be traced to specific events in human history, thus actualizing the predictive value of geology. Further, this diachronic scheme, unlike the synchronic ones thus far proposed, makes more legible two fundamental dynamics between human and natural trajectories: the intensification of global inequity coterminous with the intensification of natural damage; and humanity’s ever more audacious attempts to control the environment. This ethos, wielded as the prime justification for taking over that which belonged to cultures not espousing it, has resulted in anthropogenic damage disproportionately affecting the most economically and historically vulnerable peoples. However, their alternative modes of coping with the damages—an ineluctable responsiveness to, rather than control over, environment—enables them to survive. As such, they could lead the way through the Anthropocene, modeling adaptation and mitigation strategies, and obviating the global North’s unsound hope for a technological solution. Three metropolitan architects, Rem Koolhaas, David Adjaye, and V. Mitch McEwen, look to global Southern urbanisms––improvisational, creative, minimalist praxes grounded in indigenous lifeways––for alternate modes of inhabiting anthropocenic modernity. Likewise, New Zealand’s government has materially and ethically mitigated its legacy of settler colonialism by combining Western scientific data with indigenous knowledge to formulate more adaptive, responsive, integrative approaches to environment. By expanding the data beyond the stratigraphic, coordinated interdisciplinary research can measure variegated effects of––and responses to––the Anthropocene, thus better equipping humanity to adapt to and/or mitigate climate change and to eschew unsustainable practices. (shrink)

Intensity profiles of emotional experience over time have been found to differ primarily in explosiveness and accumulation. However, the determinants of these temporal features remain poorly understood. In two studies, we examined whether emotion regulation strategies are predictive of the degree of explosiveness and accumulation of negative emotional episodes. Participants were asked to draw profiles reflecting changes in the intensity of emotions elicited either by negative social feedback in the lab or by negative events in daily life. In addition, (...) trait, and state usage of a set of emotion regulation strategies was assessed. Multilevel analyses revealed that trait rumination was positively associated with emotion accumulation. State rumination was also positively associated with emotion accumulation and, to a lesser extent, with emotion explosiveness. These results provide support for emotion regulation theories, which hypothesise that rumination is a central mechanism underlying the maintenance of negative emotions. (shrink)

Twelve-month-old infants interacted with two strangers in a free-play context. In the Experimental condition, one stranger vocally responded immediately to infants’ looks towards her, whereas the other was yoked to the Contingent partner with a 1-, 2-, or 3-s delay. In the Control condition, the Non-Contingent partner emitted the first vocalization and other non-contingent vocalizations during the free play session. The Contingent partner acted the same as in the Experimental condition. When a novel event occurred after the free-play session, infants (...) looked significantly more to the Contingent partner regardless of condition. The study highlights infants’ selective looking to temporally contingent partners in novel situations. (shrink)

The summa of a distinguished philosopher's career, and full treatment of the temporal in philosophical terms, this volume shows us that by taking time seriously we can discover something essential to almost every question of human concern. Are we IN time? Charles Sherover asks, and in pursuing this question he considers time in conjunction with cognition, morality, action, physical nature, being, God, freedom, and politics. His essays, while drawing upon Royce, Heidegger, Kant, Leibniz, and even Hartshorne and Bergson, defy categorization (...) by method or school; instead, they reveal the diversity and divergence of thinking about time as well as the myriad features and values within the omnipresence of time and change. The volume begins with an overview of the history of thought on time and a clarification of some fundamental conceptual distinctions in temporal ideas. Sherover then offers a critique of Kant, the first thinker to recognize that all human experience has a temporal form. In a series of essays on metaphysics--a valuable corrective to the dominant metaphysical tradition of talking about being as if time does not matter--he pursues temporal responses to such problems as being, internal relations, individuation, mind, and free will. Finally, in essays on time, freedom, and the common good, Sherover argues that these three phenomena are intrinsically related to one another, the fulfillment of each involving the other two. Throughout, these essays brilliantly depict human life and thought thoroughly steeped in time and argue for the significance of the future for human activity. Portraying the openness of the future as the basis for purposiveness and freedom, knowledge and moral action, social life and religious hope, Sherover's work conveys a hopeful message of human finitude that nonetheless allows us a measure of control over events in our own time. (shrink)

The summa of a distinguished philosopher's career, and full treatment of the temporal in philosophical terms, this volume shows us that by taking time seriously we can discover something essential to almost every question of human concern. Are we IN time? Charles Sherover asks, and in pursuing this question he considers time in conjunction with cognition, morality, action, physical nature, being, God, freedom, and politics. His essays, while drawing upon Royce, Heidegger, Kant, Leibniz, and even Hartshorne and Bergson, defy categorization (...) by method or school; instead, they reveal the diversity and divergence of thinking about time as well as the myriad features and values within the omnipresence of time and change. The volume begins with an overview of the history of thought on time and a clarification of some fundamental conceptual distinctions in temporal ideas. Sherover then offers a critique of Kant, the first thinker to recognize that all human experience has a temporal form. In a series of essays on metaphysics--a valuable corrective to the dominant metaphysical tradition of talking about being as if time does not matter--he pursues temporal responses to such problems as being, internal relations, individuation, mind, and free will. Finally, in essays on time, freedom, and the common good, Sherover argues that these three phenomena are intrinsically related to one another, the fulfillment of each involving the other two. Throughout, these essays brilliantly depict human life and thought thoroughly steeped in time and argue for the significance of the future for human activity. Portraying the openness of the future as the basis for purposiveness and freedom, knowledge and moral action, social life and religious hope, Sherover's work conveys a hopeful message of human finitude that nonetheless allows us a measure of control over events in our own time. (shrink)

What can the sounds of today tell us about the future? Can an analysis of sound and sonic practices allow us to make reliable predictions in relation to wider social phenomena? And what might they tell us about technology in a world where futurology is such a frenzied and busy field? In order to answer these questions, this book tests a range of propositions that connect noise, sound and music to political, economic and technological events. Hence it is a (...) book about historical trajectories and conflicting ideas about time and the necessity to re-contextualize and interpret them in the digital age. (shrink)

The goal of this inquiry is to discover whether a plausible naturalistic case can be made for personal survival after death. Personal survival is defined, and a plausibility scale developed as a tool. ;Various analytical objections to survival are considered and rejected as faulty. A key empirical objection is then examined: namely, that personal identity depends on memories, memories are stored in the brain, and personal identity thus cannot survive the brain's death. First, we distinguish habit memories from "pure" memories (...) of individual events and insights; the latter alone are crucial to personal identity. We then review memory findings and cases in neurology, neurophysiology, psychology, psychiatry and phenomenology, concluding that brain storage of "pure" memories is highly implausible. This being so, the memory argument against personal survival fails. ;A plausible self-structure is proposed, with pure memories lodged in the inmost self, fed by the experiencing self. Further evidence and argument indicate, with moderate plausibility, that the inmost/experiencing self is not reducible to, or identical with, or intextricably dependent on, the brain; nor is it merely a cell in the social web or the natural environment. ;Further inquiry suggests that survival of the inmost/experiencing self, after death of the organic self, coheres with a defensible ontology. Building on insights of recent philosophers of becoming, this ontology grounds human existence in temporality or real duration, stretching from birth to death. In this system our mental life, largely in the inmost self, greatly overflows our cerebral life, so that, as Bergson wrote, "survival becomes so probable that the onus of proof falls on him who denies it rather than on him who affirms it." ;The inquiry then widens and deepens this ontological discussion, without entering into theology, and also offers some speculation on what a naturalistic personal survival might be like. The inquiry concludes that such survival is plausible, that is, its reality is supported by substantial evidence outweighing the opposing evidence. (shrink)

As one might expect of an author of the complexity of John of Salisbury, there is little scholarly agreement regarding the proper interpretation of the major features of his social and political thought. The twelfth-century church-man has always been a controversial figure. Since the late Middle Ages, the ideas contained in his main contribution to political theory, the Policraticus , have been widely analyzed and interpreted. In more recent years, controversy has raged about the nature and significance of many (...) of his main doctrines , his source materials, and his attitudes towards contemporary events and people. (shrink)

As many disciplines in the humanities have experienced a focus on culture's impact in recent decades, questions surrounding the significance of media such as writing, print, and computer networks have become increasingly relevant. This book seeks to demonstrate that a media and cultural theory perspective can also be highly productive for legal theory. Thomas Vesting approaches law as an artificial and constructive element within culture and emphasizes the many possibilities that varied forms of media have opened to law, from oral (...) history through to scripture, print and modern day digital networks. While providing historical examples for these theoretical assumptions, the connections between media and law are reconstructed in a practical way and with an eye toward the future. The book closes with an analysis of our present age as a network culture and discusses how this metaphorical framework can be of use in thinking about issues such as constitutionalism, human rights, the state, democracy and education. 'Legal Theory and the Media of Law' will be of great interest to legal, cultural and media theorists as well as academics of politics, sociology and philosophy" -- Back cover. (shrink)

Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors (...) from three performance arts—dance, theatre, and music—and giving examples from social media and other technologies, it is shown that we can helpfully describe technology use and experience as performance involving movement, sociality, and temporality. Moreover, it is argued that these metaphors can also be used to reformulate the idea that in such uses and experiences, now understood as “technoperformances”, technology is not merely a tool but also takes on a stronger, often non-intended role: not so much as “mediator” but as choreographer, director, and conductor of what we experience and do. Performance metaphors thus allow us to recast the phenomenology and hermeneutics of technology use as moving, social, and temporal—indeed historical—affair in which technologies take on the role of organizer and structurer of our performances, and in which humans are not necessarily the ones who are fully in control of the meanings, experiences, and actions that emerge from our engagement with the world, with technology, and with each other. This promises to give us a more comprehensive view of what it means to live with technology and how our lives are increasingly organized by technology—especially by smart technologies. Finally, it is argued that this has normative implications for an ethics and politics of technology, now understood as an ethics and politics of technoperformances. (shrink)

This article examines the concerns and debates that have arisen in African philosophy over the last few decades, and asks whether it continues to be necessary for African philosophy to take on what the author calls “perverse questions” or “perverse preoccupations” with the West. The author argues that to engage and respond to questions about the intellectual capabilities of African thinkers or the possible existence of philosophical resources in African cultures is to respond to perverse questions. To engage in academic (...) dialogues implicitly or explicitly guided by a request or a felt need to justify and defend the very possibility of African philosophy or African rationality is to engage in perverse and unnecessary dialogues. Because these perverse debates often precede, prevent, or condition the formulation of what count as necessary debates, it is important that they be identified and critically assessed, and when possible, dispensed with. Only then can African philosophy pursue necessary and fruitful debates. (shrink)

The emerging critique of alternative food networks (AFNs) points to several factors that could impede the participation of low-income, minority communities in the movement, namely, spatial and temporal constraints, and the lack of economic, cultural, and human capital. Based on a semi-experimental study that offers 6 weeks of free produce to 31 low-income African American households located in a New Orleans food desert, this article empirically examines the significance of the impeding factors identified by previous scholarship, through participant surveys before, (...) during, and after the program. Our results suggest economic constraints are more influential in determining where the participants shop for food than spatial and temporal constraints, and the study participants exhibit high levels of human and cultural capital regarding the purchase and consumption of locally grown produce. We also find them undeterred by the market’s predominantly White, middle-class cultural social space, which leads us to question the extent to which cultural exclusivity discourages their participation in AFNs. For all five factors we find that the constraints posed to accessing the local food market were not universal but varied among the participants. Finally, the study reveals some localized social constraints, fragmented social ties in particular, as a possible structural hurdle to engaging these residents in the alternative market in their neighborhood. Conclusions point to the need for a multi-dimensional and dynamic conceptualization of “food access.”. (shrink)

This paper aims to explore the changes that representative democracy is experiencing as a result of the transformation of communication channels. In particular, it focuses on non-electoral representation in the form of movements that emerged throughout the 2010s and that were defined by a strong social media presence (e.g. Occupy Wall Street, Black Lives Matter, #MeToo, Yellow Vests). Despite not attempting to gain political power via elections, these movements, through online and offline activities, nonetheless managed to shape the (...) realm of politics. The paper thus analyzes the movements’ inner representative dynamics and the ways they reshape representative democracy. It engages with a critical reading of Hanna Pitkin’s concept of symbolic representation and draws on Michael Saward’s framework of the representative claim to reevaluate Bernard Manin’s notion of “audience” democracy as today’s form of representative government. The argument is that, as digital development provides citizens with less demanding modes of political participation and platforms of representative claim-making, it enhances the sphere of opinion formation and the role of non-electoral representation. This sphere entails a tendency towards a re-depersonalization of politics, thus leading towards the transformation of “audience” democracy. (shrink)

While collaboration has always played an important role in many cases of discovery and creation, recent developments such as the web facilitate and encourage collaboration at scales never seen before, even in areas such as mathematics, where contributions by single individuals have historically been the norm. This new scenario poses a challenge at the theoretical level, as it brings out the importance of various issues which, as of yet, have not been sufficiently central to the study of problem-solving, discovery, and (...) creativity. We analyze the case of collective and web-based proof events in mathematics, which share their temporal and social nature with every case of collective problem-solving. We propose that some ideas from cognitive architectures, in particular, the notion of codelet—understood as an agent engaged in one of a multitude of available tasks—can illuminate our understanding of collective problem-solving and act as a natural bridge from some of the theoretical aspects of collective, web-based discovery to the practical concern of designing cognitively inspired systems to support collective problem-solving. We use the Pythagorean Theorem and its many proofs as a case study to illustrate our approach. (shrink)