In lieu of an abstract, here is a brief excerpt of the content:Blind Spots and Avenues for Transformation within the Utopian Canon: Toward A Terrestrial EcotopianismHeather Alberro (bio)Limitations and Exclusions of the (Western) Utopian CanonUtopianism in all of its manifestations often powerfully (re)surfaces during times of significant socio-ecological upheaval as a response to oppressive and exploitative realities. As such it is a fervent refusal against a given status quo and its purported inevitability. Utopianism and hope are rendered possible by, (...) and draw their transformative potential from, the boundless terrain of potentiality surrounding any given reality.1 Indeed, without such conditions of radical uncertainty, hope and utopianism would not be possible. Often and understandably, the seminal works of Plato, Thomas More, William Morris, H. G. Wells and others come to mind when we think of utopian studies. Hence Kumar’s parochial observation that there is no discernible utopian tradition beyond the West because other cultures lack the foundational myth of the Golden Age—that is, the Garden of Eden, Atlantis, and Arcadia—that has been so formative to the development of utopia in the West.2 These traditional or “transcendental” utopian modalities often feature a dichotomous opposition to their present reality, depicting time and historical movement [End Page 528] as linear successions of stages proceeding from an archaic past and toward a future wherein the utopian ideal is seen as occupying a “fixed space outside time and history.”3 Such temporally “transcendent” utopias marked the dawn of the modern phase of utopian thought, originating in the seventeenth century alongside new theories of social evolution that coalesced into modern Enlightenment notions of linear historical progress.4Prioritizing Pluralism: Critical Heterotopias of the “Here and Now”What kind of life? We are still confronted with the demand to state the “concrete alternative.” The demand is meaningless if it asks for a blueprint of the specific institutions and relationships which would be those of the new society: they cannot be determined a priori; they will develop, in trial and error, as the new society develops.5Tom Moylan’s notion of “critical utopianism,” which emerged during the “historic block” of political opposition of the 1960s and 1970s, marks one important step within the utopian canon toward praxis and the essential “Nowness” of critique and imaginative projection.6 This “critical” strand of utopianism is fueled by a fervent opposition to the exploitation and domination of people and the natural world that is increasingly characteristic of Western-capitalist societies.7 This opposition is coupled with a utopian desire for mutual aid, ecological resilience, liberation, and peaceful living—in effect, a longing for community.8 The “critical” in Moylan’s formulation has a bivalency: first, in the sense of critique through the debunking and deconstruction of the utopian genre itself, which was “colonized” by capitalism toward the 1970s and infused with technocratic dreams of material abundance through boundless economic expansion; and second, in the sense of the critical mass required to effect fundamental societal transformations.9 If the better is the enemy of the good, then perfection serves as “a stick with which to beat the possible.”10 Utopias do not offer rigid blueprints of a fixed or perfect ideal world but rather head toward “the ideal” by offering “a rich blending of creative fantasy, critical thinking, and oppositional activism” predicated on a demand for radically new relations between social and natural systems.11 Ever critically self-reflective, critical utopias continually remind us of the limitations of the utopian impulse, particularly the dangers of pursuing rigid and transcendental visions of “the better.” Nevertheless, these are desperate times that demand some orientation toward a better; utopianism’s [End Page 529] denunciative function is not enough. Thus, in his impassioned recent work Becoming Utopian, Moylan denotes the need for an intersectional, democratically unified leadership structure that can help sustain a political movement for counteracting the “global/neoliberal superpower order while reaching for a utopian horizon.”12 With a focus more on process than a fixed ideal, the critical utopia explores and articulates vibrant post-capitalist futures that are simultaneously open-ended, and far more socio-ecologically resilient than the “now” of late capitalism.Akin in function and style to critical utopias are the grounded and transgressive... (shrink)

The present era of biological annihilation lends significant urgency to the need to radically reconfigure human–animal–nature relations along more ethical lines and sustainable trajectories. This article engages with largely post-humanist scholarship to offer up an in-depth qualitative analysis of a set of semi-structured interviews, conducted in August 2017–2018 with 26 radical environmental activists (REAs) from a variety of movements. These activists are posited as contemporary manifestations of the ‘post-anthropocentric paradigm shifts’ that challenge traditional notions of human separateness from – and (...) superiority to – the nonhuman world. However, despite being broadly categorised as post-humanist or post-anthropocentric in their efforts to deconstruct hierarchical and dualistic constructions of the human–animal–nature relationship, considerable variations abound in terms of who and what REAs value and on what basis. The article concludes with a brief discussion of the nature of REAs’ post-anthropocentric sensibilities and mobilisations, and considers implications for the development of more ethical modes of human– animal–nature relationality that value and respect the irreducible alterity of nonhuman others. (shrink)

How to conjure up a picture, for instance, of a town without pigeons, without any trees or gardens, where you never hear the beat of wings or the rustle of leaves—a thoroughly negative place in short?Though now home to the majority of the world's human population, cities—indeed the politics of life itself—have always been multispecies endeavors. The quote above is Albert Camus's description of Oran, the fictional town that is the site of a devastating plague outbreak in his seminal work, (...) The Plague. It is meant to conjure a decidedly dystopian urban landscape due to its marked absence of nonhuman life. Such a scenario is precisely what the visionary artistic and literary movement Solar Punk seek to counter... (shrink)

ABSTRACT This article draws on utopian and posthumanist theory in order to critically assess the contemporary resurgence of green utopianism in the form of contemporary radical environmental activists mobilizing against the socioecological perturbations of the Anthropocene. Featuring empirical data in the form of twenty-six semi-structured interviews with REAs from groups such as Earth First! and Sea Shepherd, the article critically examines the singular modality of ecotopianism exhibited by REAs, and explores the degree to which their post-anthropocentric worldviews—and crucially the widespread (...) annihilation of cherished Earth kin amidst the Anthropocene era of climate and ecological breakdown—influences their imaginative reconstitutions of human–animal–nature relations. REAs exhibit a distinctively earthbound or terrestrial ecotopianism that disavows future-oriented modalities of hope and closure around particular notions of the “good” in light of the intrusion of ecological decline into the present, instead emphasizing the need to disrupt the present and live better alternatives in the here and now. The article concludes with reflections on the value of some closure for necessary socioecological transformations, and on what REA ecotopianism suggests about the potential for posthuman utopian modalities that decenter the human in their projections of more livable worlds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response 3: Transgressive Utopianism and Direct ActivismHeather AlberroThis is an important time to revisit questions concerning the historical underpinnings of utopianism as a mode of praxis and theoretical endeavor, its potential oversights and where it ought to venture in the decades to come. The multidisciplinary Hispanic utopian project Histopia discussed by Ramirez-Blanco offers a helpful starting point for this discussion. Especially noteworthy, in my view, is Histopia’s recognition of (...) and interest in engaging with manifestations of utopianism beyond academia and examining the full spectrum of the utopian imaginary, from texts to social movements. Similarly important is what Ramirez-Blanco alludes to as Histopia’s laudable attempts to “decenter” the discipline toward the Spanish-speaking world. This recalls the wider, vital work of decolonizing utopian studies highlighted by Edwards and others in this piece so that it is inclusive of the immeasurably diverse array of utopian imaginaries and modes of praxis around the globe. To reduce such diverse manifestations to the lens of a single medium or cultural-historical context would be a profound intellectual and ethical misdeed.A related example of such decolonial work is Histopia’s emphasis on history as opposed to the canon’s traditional emphasis on texts. Here, I was [End Page 550] wondering if you (Ramirez-Blanco) could elaborate further on what this entails. That is, what is Histopia’s conceptualization of history vis-à-vis the now and “to-come,” and their relation more generally to the utopian impulse? Is this conceptualization akin to the (Western) utopian conception of time as a linear progression from an archaic past toward a radiant future toward some “advanced” end state?1 Or does it depart from this modernist construct and, if so, in what ways? What is the role of prefigurative (utopian) activist movements in the history of social transformation, in your view?With movements like 15M in Spain that you discuss, what do you see as the transformative utopian potential of their denunciations of the status quo, however fleeting? What of their annunciations? That is, what were they gesturing toward, and what did their imaginings of “a better” consist of? How do public assemblies as “performances” factor into these visions? I’m curious to know what patterns, if any, can be traced across contemporary left-social movements. My own research with radical environmental activists has found that they exhibit the former aspect of the utopian mode—denunciation—with immense power and potency. Like the 15M movement, their direct activism is postparliamentary given their profound disaffection with the capitalist state and its perceived collusion with extractive industries driving ecological breakdown. The aspect of annunciation for them, however, is much more complex and fragmented. They are similarly engaged in constant deliberations over the relative strengths and weaknesses of alternative modes of political organization and participation, particularly concerning which actors may be excluded. However, they do exhibit a consensus on certain things—especially their fervent desire for a renewed abundance of terrestrial life forms and an equally fervent refusal of the worst of possible worlds consisting of substantially diminished other-than-human life forms.The question raised by Antonis concerning blueprints, or utopian modalities that provide fleshed-out visions of better worlds, is a similarly pertinent one for two key reasons: (1) in connection with the aforementioned vital work of decolonizing the utopian canon and imaginary, and (2) as a possible response to the mounting socio-ecological depredations of late-stage capitalism and the theft of the now and to-come from growing portions of the earth’s inhabitants. As Antonis highlights, some have suggested that utopianism’s pursuit of human and societal perfectibility—especially “blueprint” modalities aiming to implement a particular conception of “the good society”—harbor seeds of totalitarianism and intolerance of difference.2 [End Page 551] Indeed, inklings toward domination can be seen within some totalizing/blue-printing utopias and their cultural-historical links to Enlightenment projects of universal conquest, namely the hegemonic “utopias” of Western modernity in the form of colonial-capitalism.3 These totalizing visions of progress and “the good life” have been systematically ending other-than-Western worlds for centuries, leading to our present state of ruination.Hence why subsequent modalities... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Green Utopia Now! A Transdisciplinary Symposium on How to Deal with the Climate Crisis: November 30, 2022, University of Ferrara, ItalyManuel Sousa Oliveira, Ilenia Vittoria Casmiri, Fabiola Onofrio, Tânia Cerqueira, Francisca Teixeira, and Florian WagnerHow could we come together in transdisciplinary collaboration to deal with the climate crisis? Could utopianism be what brings us together? Last summer (2022) we started asking ourselves these questions, and months later Green Utopia (...) Now! A Transdisciplinary Symposium on How to Deal with the Climate Crisis was our initial attempt at finding an answer. The symposium was an ambitious and challenging venture from the start. Our aspirations for it were perhaps still formulated best in the event program:Green Utopia Now! brings together an outstanding group of early career researchers (ECRs) working on climate and the environment in various fields of study. The symposium will provide a creative space where ECRs can share their transdisciplinary perspectives on how to challenge the limits of monodisciplinary views on sustainability, and how the sciences and the humanities can join forces to tackle the current climate crisis. Each of these scientific and cultural points of view will be brought together by a utopian impulse that insists on the role of collaboration, and the urgency of positive [End Page 368] climate action. In fact, this symposium is guided by our conviction about the importance of (1) transdisciplinary collaboration, (2) innovative research conducted by ECRs, and (3) utopian thinking and practice for engaging with global scale problems.Fortunately, eleven guest speakers accepted the challenge, and their answers were unsurprisingly diverse.1If we are to approach the vicissitudes of the climate crisis, we must, as Hannah Nelson-Teutsch and Lena Pfeifer recently called for, seek “new, entangled form(at)s of scholarship in the humanities.”1 These entanglements have become even more obvious in the ways in which research on the climate and environmental crises challenges the very limits of humanities and monodisciplinary scholarship. Not circumscribed to the humanities, then, Green Utopia Now! similarly aspired to “new, entangled form(at)s” of transdisciplinary research at the intersection of environmental and utopian studies. Thus, it follows that this briefing too should diverge from the conventional form(at) in an attempt to convey the professional, personal and collective entanglements of our projects.Green utopianism, as described in a recent issue of this journal, shares with political ecological movements a radical and urgent “need to live and embody better alternatives within the Now.”2 This idea of “nowness” inspired our symposium down to its title. It would be only fitting, then, that the author, Heather Alberro, would deliver the opening keynote of the Green Utopia Now! symposium. Alberro (Nottingham Trent) joined us online to, on the one hand, (re)introduce the idea of green utopianism and, on the other, propose a new iteration termed “terrestrial ecotopianism.” Drawn for a wide range of both fictional and nonfictional, imaginative and empirical sources, Alberro’s terrestrial ecotopianism redirects our focus toward the here and the now. Providing a further layer to this utopian project is the work being conducted in empirical ecocriticism, as made obvious by W. P. Małecki (Wrocław), who delivered the closing keynote, which was based on “hot off the press” research on environmental communication, environmental psychology, as well as affective (and, of course, empirical) ecocriticism. It inquired into the possibilities of utopian cli-fi in general, and Kim Stanley Robinson’s The Ministry for the Future (2020) in particular, to change attitudes toward the climate crisis. [End Page 369]Most of our speakers, were far from being utopian scholars. Still, by the end of the symposium it was becoming clear that many (if not all) were in fact unwitting utopians. Regardless of the fields—from literature to genetics, biology to sociology, or economics to architecture—collectively the proposals that were put forth constitute a fresh and wide-ranging utopian project exploring both more and less exact ways of dealing with the climate crisis now. Not wishing to have the project become monolithic, much of the utopian aspirations for the symposium were placed in the process, the relationships, and the conversations. Even if to admittedly mixed results, the panels too... (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

O objetivo deste artigo é, a partir de considerações dos filósofos Giorgio Agamben e Georges Didi-Huberman, examinar o conceito de contemporâneo como um diálogo com o passado, sem necessariamente recapturá-lo como tal, mas revisitando e relendo determinados elementos desse passado. Assim, são consideradas, aqui, as reflexões levadas a cabo pelos críticos e teóricos das artes, Boris Groys, MiwonKwon e Richard Meyer. Em seguida, os pontos de convergência desses pesquisadores são contrapostos à visão do contemporâneo defendida por Terry Smith e Alexander (...) Alberro e, então, relacionados à ideia do novo. Por fim, o artigo busca, brevemente, na conclusão, pensar o debate acerca do contemporâneo no caso da arte brasileira.Keywords:Contemporâneo. Tempo. Passado. Novo. Artes Visuais. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response 2: “Pessimism of the Intellect, Optimism of the Will”Antonis BalasopoulosLet me begin with a few words on my title, which was chosen as reflecting the nature of the orientation of my work in the field of utopian studies and therefore also of my orientation toward the theme of this roundtable. As Francesca Antonini puts it in a recent essay, the phrase, which became associated with the work of (...) Antonio Gramsci though it originates in Romain Rolland, describes “the (seemingly contradictory) coexistence of a realistic description of the status quo, on the one hand, and a genuine commitment to the possibility of transforming reality, on the other.”1Anyone who has read Thomas More’s Utopia knows that Rolland’s and Gramsci’s formula very much describes that book’s bifurcation between a voice of relentless critique of what exists in Europe—and particularly in England—in More’s time (in Book 1) and a voice preoccupied with the description of an alternative, and arguably better, world (in Book 2). This bifurcation, it is equally well known, is part of the genetic material More’s book bequeathed to its successors, so that one calls a “utopia” a (mostly, though not always) literary text, where the “realistic description of the status quo” coexists with a vision arising out of a “commitment to the possibility of transforming reality”—admittedly in different admixtures and proportions of [End Page 544] the critical or negative and the anticipatory, projective or prefigurative elements. Though Ernst Bloch’s distinction between “cold” and warm” streams within Marxism is not identical to this first binary, it is certainly related to it, so that the “cold” stream is one that privileges the rational and analytical element (usually, I would propose, in relation to the part of the Marxist tradition we know as “critique of political economy”), while the “warm stream” is one that rather foregrounds that which relates to affect, to desire, hope, or fidelity to the transformative project (these are frequently correlated to those elements of Marxism that correspond to its also being a political and philosophically imbued creed).2 What follows here, then, explores the implications of the dialectical interplay between these two sets of oppositions—and hopefully justifies such insistence on dialectic itself.3To the extent that I can see, the basic themes and areas of concentration in my colleagues’ essays involve decolonizing utopian studies as a project; addressing, in that connection, the heterogeneity of utopianisms that emerge out of a number of marginalized subjectivities; the provenance of the questions of ecology, sustainability, animal life for the present and future of utopian studies (and to some degree, for utopianism’s past); and finally, the question of utopian forms of social activism and therefore also the search for spaces beyond the walls of academic insularity. These are important and largely interconnected questions, but I am afraid I will only have the space to touch on them briefly and sketchily here.In her cogent and multifaceted intervention, Caroline Edwards begins her reflections on the task of decolonizing utopian studies by noting the high investment of fin-de-siècle utopian fiction in notions of industrial progress, noting that such notions have involved “lasting damage” for “Black writers, artists, and thinkers.” Within this framework, she evokes Joseph R. Winters’s argument that “modern notions of progress and freedom are inherently flawed,” since they are founded on the oppressive traditions of capitalism and colonialism. In turn, this leads to an argument against the teleological futurism of most nineteenth-century utopias and in support of the deconstruction of “the idea of historical progress unfolding in Hegelian dialectical stages.” What is to replace this is a hauntological (after Derrida) conception of the relation between the present and the past, for which “the present is always a site of potential breaks and ruptures that can signify both dislocation and pain as well as novelty and possibility.” In a similar vein, Heather Alberro questions the teleological futurism of an earlier tradition of utopia, evoking Laurence Davis’s observation on the importance of [End Page 545] “neglected or suppressed possibilities for qualitatively better forms of life” within the “Now.” The desideratum is, again... (shrink)

The problem of justifying legal punishment has been at the heart of legal and social philosophy from the very earliest recorded philosophical texts. However, despite several hundred years of debate, philosophers have not reached agreement about how legal punishment can be morally justified. That is the central issue addressed by the contributors to this volume. All of the essays collected here have been published in the highly respected journal Philosophy & Public Affairs. Taken together, they offer not only significant proposals (...) for improving established theories of punishment and compelling arguments against long-held positions, but also ori-ginal and important answers to the question, "How is punishment to be justified?"Part I of this collection, "Justifications of Punishment," examines how any practice of punishment can be morally justified. Contributors include Jeffrie G. Murphy, Alan H. Goldman, Warren Quinn, C. S. Nino, and Jean Hampton. The papers in Part II, "Problems of Punishment," address more specific issues arising in established theories. The authors are Martha C. Nussbaum, Michael Davis, and A. John Simmons. In the final section, "Capital Punishment," contributors discuss the justifiability of capital punishment, one of the most debated philosophical topics of this century. Essayists include David A. Conway, Jeffrey H. Reiman, Stephen Nathanson, and Ernest van den Haag. (shrink)

Ame Naess, John Rodman, George Sessions, and others, designated herein as ecosophers, propose an egalitarian anti-anthropocentric biocentrism as a basis for a new environmental ethic. I outline their “hands-off-nature” position and show it to be based on setting man apart. The ecosophic position is thus neither egalitarian nor fully biocentric. A fully egalitarian biocentric ethic would place no more restrictions on the behavior of human beings than on the behavior of any other animals. Uncontrolled human behavior might lead to the (...) destruction ofthe environment and thus to the extinction of human beings. I thus conclude that human interest in survival is the best ground on which to argue for an ecological balance which is good both for human beings and for the whole biological community. (shrink)

Hull et al. rightly point out the special character of selection as a causal mode, but ironically they seem to force selection back into traditional causal modes by decomposing it into replication, variation, and environmental interaction. Many processes are selective, and a taxonomy of a broad range of kinds of selection may be preferable to narrowing the applicability of the term.

A basic model of hierarchical structure, expressed by simple, linear differential equations, shows that the pattern of population growth is essentially determined by conditions of redundancy in the sub-structure of individuals. There does not exist any possible combination between growth rate and accident rate that could balance population numbers and/or the level of redundancy within the population; all possible combinations either lead to extinction or to positive population growth with a decline of the fraction of individuals with redundant substructure. Declining (...) populations, however, can be held fluctuating between certain limits by periodic phases of sub-unit repair. These results are particularly pertinent to the population dynamics of diploid (polyploid) organisms. (shrink)

International Relations and the Philosophy of History examines the concept of civilization in relation to international systems through an extensive use of the literature in the philosophy of history. A. Nuri Yurdusev demonstrates the relevance of a civilizational approach to the study of contemporary international relations by looking at the multi-civilizational nature of the modern international system, the competing claims of national and civilizational identities and the rise of civilizational consciousness after the Cold War.

The scope and importance of the present work is manifest even to a casual glance; the actual heights of scholarly penetration and disinterestedness to which it rises can only be appreciated by the detailed examination of its text. From this latter examination, it readily appears that we are confronted with no ad hoc construction, no work cut, so to say, to fit a present need, however valid and cogent; but a work reflecting a near lifetime of application and animated by (...) a relentless devotion to documentary truth. For this reason, any account of it must, in simple justice, begin with a brief historical notice of the work itself. (shrink)

In his Vita Galbae Suetonius informs us that after Gaius' assassination Galba was urged by some to attempt to seize power but declined to do so. Consequently he was much favoured by Claudius, and held in such high regard that when Galba was smitten by a sudden, though mild, illness, the emperor postponed the expedition launched against Britain in A.D. 43: ‘ut cum subita ei [sc.Galbae] valetudo nee adeo gravis incidisset, dilatus sit expeditionis Britannicae dies’. The reference to the postponement (...) is clear and unequivocal, and contains nothing scurrilous or titillating that might have persuaded Suetonius to fabricate it. It does not, accordingly, seem unreasonable that modern commentators should, on the basis of this passage, record that Galba was present in Britain in A.D. 43. (shrink)