This essay seeks to show the divergence of real and virtual communication codes by means of analyzing Charlie Brooker’s dystopian series Black Mirror, in respect of the influence of new communication technologies and gadgets in the form of bodily extensions. It draws on both recent sociopolitical phenomena and sociological findings to undermine why and how the speculative fiction of Black Mirror displays the characters’ engagement in their environs as inherently obscene, and at same time mirrors the (...) recent developments that are looming ahead in the future which makes the series prophetical rather than merely dystopian in its outlook. (shrink)

Modern cognitive and experimental science is increasingly working to explore the meaning and importance of forgetting. Forgetting is one of the most important mental functions on an individual level, but also on a social and national level, since it enables healing, purifies the mind of difficult memories, prevents obsession with problems, and eliminates the possibility of psychosomatic illnesses. The famous British TV series Black Mirror, which has become a symbol of the challenges that modern and futuristic technology brings (...) to man, deals with the problems that arise due to the obsession of the gadget culture with abolishing forgetting through technological enhancement. Several episodes are based on gadgets that expand the potential of memory and make it constantly available to other subjects, in the way that data from a person’s entire history become available. In a dialogue with Brooker’s ideas, the author re–examines the problems spawned by this future society without forgetting, and searches for possible solutions. Moderna kognitivna i eksperimentalna znanost sve više se bavi istraživanjem značenja i važnosti zaboravljanja. Zaboravljanje je jedna od najvažnijih mentalnih funkcija na individualnoj, ali i na društvenoj i nacionalnoj razini, budući da omogućuje iscjeljivanje uma i brisanje neugodnih sjećanja, sprječava opsesivno razmišljanje o problemima i otklanja mogućnost pojave psihosomatskih bolesti. Poznata britanska serija Crno zrcalo, koja je postala simbol za izazove koje moderna i futuristička tehnologija donosi čovjeku, bavi se problemima koji nastaju zbog opsjednutosti kulture gadgeta da se tehnološkim napretkom potpuno onemogući zaboravljanje. Nekoliko epizoda serije temelji se na gadgetima koji proširuju potencijal ljudskog pamćenja te ga čine dostupnim drugima, a time podatci o čitavoj nečijoj prošlosti postaju dostupni. Razmišljajući o Brookerovim idejama, autor razmatra probleme koje bi iznjedrilo takvo buduće društvo lišeno zaborava i traži moguća rješenja. (shrink)

The dystopian tale has a special place in our shared cultural heritage. -/- Many of us will have a favourite, or perhaps several. I myself adored the 1984 and The Handmaid’s Tale books as a youngster; moved on to JG Ballard then discovered Philip K. Dick thanks to Minority Report; and in recent years was floored by Black Mirror episodes and videogames such as The Last of Us. -/- The thrill can be explained by one question: ‘What if (...) this horror was actually happening?’ -/- “People say Black Mirror and The Handmaid’s Tale are conspiracies, science fiction – but as a philosopher, I can see a lot of the elements in these films and books that are actually happening now,” Marie Oldfield, AI ethics consultant to the UK government and other organisations, tells BusinessCloud. (shrink)

RESUMO A série Black Mirror, transmitida entre 2011 e 2023 pela Netflix, tornou-se um fenômeno de mídia e seus episódios mostraram formas de interação homem-máquina (terminologia também referida como humano-computador). O nome da série se refere ao fato de que, quando uma tela é desligada, ela se torna um espelho negro que reflete a imagem do usuário. Este artigo1 tem como objetivo analisar os efeitos da interação homem-máquina nas organizações produtivas apresentadas em Black Mirror. Esta pesquisa (...) utilizou a análise do discurso, principalmente a partir das contribuições de Mikhail Bakhtin. O método consistiu em três etapas que contaram com a colaboração de estudantes de graduação e pós-graduação em Engenharia de Produção, integrando ensino e pesquisa e desenvolvendo o senso crítico dos pesquisadores-iniciantes. Os resultados indicam que, nas organizações apresentadas na série Black Mirror, há uma transição do conceito de fatores humanos para fatores ciborgues, bem como o uso da interação homem-máquina para promover o controle social. (shrink)

Reflections on mimesis have tended to be restricted to aesthetic fictions in the past century; yet the proliferation of new digital technologies in the present century is currently generating virtual simulations that increasingly blur the line between aesthetic representations and embodied realities. Building on a recent mimetic turn, or re-turn of mimesis in critical theory, this paper focuses on the British science fiction television series, Black Mirror to reflect critically on the hypermimetic impact of new digital technologies on (...) the formation and transformation of subjectivity. (shrink)

Does anybody know what love is? This question, the title of a love song by the Motown singer Irma Thomas, echoes through the series Black Mirror. This chapter seeks to answer this question by studying how love, as defined by both Thomas Aquinas and Irma Thomas, appears and disappears in the universe of the show. We learn that most people don't know that love is the total giving of the self to another. But if they did know what (...) love is, as a few characters in the show do, they'd be happier. (shrink)

Conscious technology features in many Black Mirror episodes. For example, there are the cookies in White Christmas, the people uploaded into the San Junipero simulation, Robert Daly's digital copies of his coworkers in USS Callister, and the copy of Clayton Leigh that is exhibited in Black Museum. But would such pieces of technology really be conscious? Would they, for example, feel pain? And how could we tell? Is uploading or replicating someone's consciousness even possible? This chapter explores (...) these questions and discusses the ethical issues that are raised by consciousness technology. (shrink)

Can the characters in Black Mirror survive the loss of their bodies? This chapter considers what happens to characters like Greta in White Christmas, Clayton in Black Museum, and Yorkie in San Junipero when artificial models are made of their minds. One possibility is that the original characters persist in cookie form, without their bodies, but retaining the essence of who they originally were. Another possibility is that cookies cannot replicate a person's essence: instead, each time a (...) cookie is created, a new, entirely distinct person comes into being. This chapter explores these and other possibilities, all having to do with personal identity, or the persistence of persons through time. (shrink)

In Reading ‘Black Mirror’: Insights into Technology and the Post-Media Condition, German A. Duarte and Justin Michael Battin offer a new collection of essays that provides different frameworks for understanding, contextualising and appraising the influential science fiction TV anthology series, Black Mirror. While finding that the volume does not always fully cohere and often requires prior familiarity with twentieth-century French and German philosophy, there are a number of essays that are worth ample attention, writes Beba Cibralic.

This essay examines how Black Mirror presents mortality as a moral dilemma, asking if we should use technology to rewrite the rules of existence. Through the exploration of philosophical perspectives from Martin Heidegger, Albert Camus, Jacques Derrida, and Sigmund Freud, the essay illustrates the choices Black Mirror presents regarding how we should deal with the death of others and the death of ourselves, as well as the meaning of death and whether we should defer it or (...) embrace it. (shrink)

Black Mirror is a cultural phenomenon. It is a creative and sometimes shocking examination of modern society and the improbable consequences of technological progress. The episodes - typically set in an alternative present, or the near future - usually have a dark and satirical twist that provokes intense question both of the self and society at large. These kind of philosophical provocations are at the very heart of the show. Philosophical reflections on Black Mirror draws upon (...) thinkers such as Friedrich Nietzsche, Pierre Hadot and Michel Foucault to uncover how Black Mirror acts as 'philosophical television' questioning human morality and humanity's vulnerability when faced with the inexorable advance of technology. (shrink)

In this beautifully written, personal meditation on life and living, Raymond Tallis reflects on the fundamental fact of existence: that it is finite. Inspired by E. M. Forster’s thought that “Death destroys a man but the idea of it saves him,” Tallis invites readers to look back upon their lives from a unique standpoint: one’s own future corpse. From this perspective, he shows, the world now vacated can be seen most clearly in all its richness and complexity. Tallis blends lyrical (...) reflection, humor, and the occasional philosophical argument as he explores his own postmortem recollections. He considers the biological processes and the senses that opened up his late world and the million-nooked space in which he passed his life. His inert, dispossessed body highlights his ceaseless activity in life, the mind-boggling inventory of his possessions, and the togetherness and apartness that characterized his relationships in the material and social worlds. Tallis also touches on the idea of a posthumous life in the memories of those who outlive him. Readers who accompany Tallis as he considers his life through death will appreciate with new intensity the precariousness and preciousness of life, for here he succeeds in his endeavor to make “the shining hour” shine more brightly. (shrink)

Author Max Black argues that language should conform to the discovered regularities of experience it is radically mistaken to assume that the conception of language is a mirror of reality.

Black Mirror is full of technologies that manipulate people's sensory perceptions. Philosophers of perception explain that our brains actively construct what we sense based on previous knowledge, expectations, and emotions, without us even being aware of this framing. Many Black Mirror episodes illustrate the mistakes that people can make when they misunderstand this framing process. Some episodes suggest that highly effective virtual reality technology could foil the strategies that Descartes recommended for distinguishing hallucinations and dreams from (...) reality. Yet other episodes warn how powerful institutions can punitively wield the power of control over perception. Yet in rare optimistic moments, Black Mirror demonstrates the value of relying on the help of other people to hold firm to deeper truths in the face of forces that would manipulate us. [Or, a slightly longer version with key episode titles: Black Mirror is full of technologies that manipulate people's sensory perceptions. Philosophers of perception explain that our brains actively construct what we sense based on previous knowledge, expectations, and emotions, without us even being aware of this framing. Video playback of perceptions, as in Arkangel, illustrate the mistakes that people can make when they misunderstand this framing process. Playtest and Bandersnatch suggest that highly effective virtual reality technology could foil the strategies that Descartes recommended for distinguishing hallucinations and dreams from reality. In the hands of government, law enforcement, and the military, the total control of perception can be wielded as tool for punishment, as in Men Against Fire and White Bear. But in more optimistic moments, such as at the conclusions of Nosedive and San Junipero, Black Mirror demonstrates the value of relying on the help of other people to hold firm to deeper truths in the face of forces that would manipulate us.]. (shrink)

An internationally funded project uses a computer system to bring dead philosophers of technology back to life (a more advanced technology from Be Right Back). The purpose of the project is to get the thinkers to interact and come up with solutions for our currently troubling relationship with technology. The participants in the conversation have been programmed to accurately represent a relevant thinker. The programming consisted of uploading the complete works of the thinker and they have viewed all episodes of (...) Black Mirror. (shrink)

Anthropomorphic language is constantly deployed in discussions of technology more generally and very specifically in discussions of artificial intelligence. Such language can obscure both what the technology actually does and what the challenges are to using it. Facial Recognition and autonomous vehicles both rely on a form of computer vision—not the same but related forms. This article seeks to deconstruct what is going on in these two technologies to give readers an ability to think critically about them as these are (...) technologies that will have broad social impacts and which are potentially dangerous to health and well-being. They will involve exercise of power by inscrutable algorithmic authority and it is important to think more deeply about them so that we can build a world we want to live in. (shrink)

Despite the implied critical stance of dystopian narratives, there is a strand of beautiful, aesthetically pleasant dystopias—inherently ambivalent texts that are—both fascinating and horrifying. Drawing from examples in literature and television, this article argues that “beautified dystopias” generate a surplus of aesthetic enjoyment, harboring a mystifying potential in tension with the critical-satirical potential of dystopias. In a rereading of Yevgeny Zamyatin's We, this article first examine how D-503's aestheticizing voice—although undeniably constructed for a satirical effect—fosters a degree of fascination toward (...) the dystopian world in excess of Zamyatin's intentions. Second, taking Black Mirror's “Fifteen Million Merits” as an example of contemporary televisual dystopias, this article argues that the supposedly ironic construction of beautified cinematic mise-en-scènes deepens and complicates the underlying ambivalence of “beautified dystopias.” The author's assumption is that this is not an exceptional case, but rather an integral part of the current dystopian structure of feeling. (shrink)

The last 5 years have seen a series of remarkable achievements in deep-neural-network-based artificial intelligence research, and some modellers have argued that their performance compares favourably to human cognition. Critics, however, have argued that processing in deep neural networks is unlike human cognition for four reasons: they are (i) data-hungry, (ii) brittle, and (iii) inscrutable black boxes that merely (iv) reward-hack rather than learn real solutions to problems. This article rebuts these criticisms by exposing comparative bias within them, in (...) the process extracting some more general lessons that may also be useful for future debates. (shrink)

Through staged photographs in which she herself is often the lead actor or through appropriation of historical photographs, contemporary African American artist Carrie Mae Weems deconstructs the shaming of the black female body in American visual culture and offers counter-hegemonic images of black female beauty. The mirror has been foundational in Western theories of subjectivity and discussions of beauty. In the artworks I analyze in this article, Weems tactically employs the mirror to engage the topos of (...) shame in order to reject it as a way of seeing the self and to offer a new way of lovingly seeing the self. I use the work of Kelly Oliver, Helen Block Lewis, and bell hooks to articulate the relationships among the mirror, shame, and black female subjectivity in Weems's work. Weems's subjects often reckon with what Oliver calls “social melancholy” as they experience shame while standing before the mirror. However, Weems also shows that by looking again—a critical strategy I explain using Oliver's model of “the loving eye”—her subjects can use the mirror as a corrective to the social shaming gaze and make it a stage for establishing black female subjectivity, a gaze of self-love, and beauty. (shrink)

Since Leibniz's time, Cartesian mental causation has been criticized for violating the conservation of energy and momentum. Many dualist responses clearly fail. But conservation laws have important neglected features generally undermining the objection. Conservation is _local_, holding first not for the universe, but for everywhere separately. The energy in any volume changes only due to what flows through the boundaries. Constant total energy holds if the global summing-up of local conservation laws converges; it probably doesn't in reality. Energy conservation holds (...) if there is symmetry, the sameness of the laws over time. Thus, if there are time-places where symmetries fail due to nonphysical influence, conservation laws fail there and then, while holding elsewhere, such as refrigerators and stars. Noether's converse first theorem shows that conservation laws imply symmetries. Thus conservation trivially nearly entails the causal closure of the physical. But expecting conservation to hold in the brain simply assumes the falsehood of Cartesianism. Hence Leibniz's objection begs the question. Empirical neuroscience is another matter. So is Einstein's General Relativity: far from providing a loophole, General Relativity makes mental causation _harder_. (shrink)

John Griffi n’s classic on racism, Black Like Me (1960), provides an interesting text with which to investigate the development of a dialogical self. Griffi n becomes a black man for only a short period of time, but during that time he develops a black social identity and sense of personal identity, that contrasts radically with his former white identity. When he looks into a mirror on several occasions he engages in a dialogue with himself, as (...) both a black and a white person. At fi rst these two identities are so different that there is no “sympathy” between them. But through his experience, he eventually overcomes the dichotomy of two opposing selves, and acquires a personal identity, neither white nor black, but just human. In this article, I trace the development of these dialogical selves and the emergence of this new human identity. Key words: identity, racism, self, black, white.. (shrink)

Oyeyemi's critique of racism in the United States focuses on the visual binary between whiteness and blackness, which she shows working in multiple ways to warp and distort relationships. In the Whitman family, children are valued (or not valued) according to how their skin color registers on a scale determined by white superiority. Oyeyemi's approach to racism takes the circuitous route of retelling the fairy tale of “Little Snow White,” thus calling into her own narrative a foundational text of Western (...) cultural aesthetics which links beauty to whiteness. (Snow White, whose skin is “white as snow,” is “fairest in the land.”) Rather than narrate a new version of the fairy tale, Oyeyemi separates out its elements – magic mirror, evil stepmother, and beautiful white stepdaughter – and develops each into a new thematic configuration. My analysis focuses on the subtle ways that Oyeyemi's reshaping of mirror, evil stepmother, and innocent beautiful young girl exposes the harms to children inflicted by allegiance to a (false) structure of visible difference between white skin and black skin. (shrink)

In Black Museum, a young woman is out to take revenge on the man who imprisoned her father's digital self in a museum exhibit that allows sadistic visitors to reenact his execution. While the exhibit is morally detestable and some may think that the museum's curator gets what he deserves in the end, the woman's act of vengeance is morally disturbing. This chapter explores Martha Nussbaum's account of anger and forgiveness and considers Christian and Buddhist teachings. An argument by (...) David Kyle Johnson for the moral permissibility of revenge under certain circumstances is considered and rejected. The authors conclude that the act of revenge in Black Museum is not morally justified. (shrink)

Macroscopic irreversible processes emerge from fundamental physical laws of reversible character. The source of the local irreversibility seems to be not in the laws themselves but in the initial and boundary conditions of the equations that represent the laws. In this work we propose that the screening of currents by black hole event horizons determines, locally, a preferred direction for the flux of electromagnetic energy. We study the growth of black hole event horizons due to the cosmological expansion (...) and accretion of cosmic microwave background radiation, for different cosmological models. We propose generalized McVittie co-moving metrics and integrate the rate of accretion of cosmic microwave background radiation onto a supermassive black hole over cosmic time. We find that for flat, open, and closed Friedmann cosmological models, the ratio of the total area of the black hole event horizons with respect to the area of a radial co-moving space-like hypersurface always increases. Since accretion of cosmic radiation sets an absolute lower limit to the total matter accreted by black holes, this implies that the causal past and future are not mirror symmetric for any spacetime event. The asymmetry causes a net Poynting flux in the global future direction; the latter is in turn related to the ever increasing thermodynamic entropy. Thus, we expose a connection between four different “time arrows”: cosmological, electromagnetic, gravitational, and thermodynamic. (shrink)

This article is an offshoot of a research project on lesbian and gay self-organization in the UK's public sector union UNISON. The site upon which lesbians and gay men ‘work together’ is a complex and contradictory one, located at the juncture of several pathways – women's and men's movements, gendered politics and sexual politics, purist ghettos and queer rainbows. The UNISON group furnishes an ideal site for a case-study of sexual and gendered dynamics in lesbian-and-gay politics by dint of institutional (...) arrangements whereby separate spaces for lesbians and gay men respectively encourage reflexivity in working through these hyphens. While reflections from the lesbian feminist mirror have been active ingredients in the ongoing resocialization of gay men, it is argued that reflections from a gay male mirror will also be necessary if we are to nurture greater wisdom and justice in gender relations. Since the lesbian and gay group co-exists with other self-organized groups for women, black people and disabled people within a broader pro-socialist movement, the potential for working across other sets of differences is also noteworthy. Nevertheless, it can be demonstrated that a sustained coalition between lesbians and gay men is not sufficient in bringing about coalitions with other oppressed minorities or majorities, and may even be at loggerheads with them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Malcolm X and Black Nationality—from Separation to Human RightsSefi Josef Kuperman1. Black Nationalism and the Issue of SeparationThe first question we have to raise when discussing the thought of Malcolm X is "Which Malcolm X are we discussing?" Malcolm X, who was a member of the Nation of Islam (1952–1964) and served as its speaker, is not the same Malcolm who left the organization and founded Muslim (...) Mosque, Inc. (1964), and both are different from the Malcolm who embraced Sunni Islam (from 1964 until his assassination in 1965). In each of these periods, Malcolm held a different perception of the desired future of members of black communities in the United States. Despite that, Malcolm X remained faithful to the idea of black nationality throughout his active years—even if the contents of this idea changed along the years. In this paper, I show that the developments that took place within Malcolm's positions, and specifically the changes on the issue of emigration, do not affect his support for black nationalism.I do not begin this discussion with an attempt to define black nationalism, as there is no one clearly and timelessly defined black nationalism. The perception of black nationalism that took center stage in the nineteenth century is fundamentally different from that of the twentieth century. In fact, as we will soon see, even in the nineteenth century, one can find conceptual plurality of black nationalisms, and the same is true for the twentieth century.Malcom's activism begins in the days of abundant civil and governmental support for the practice of racial segregation. Facing it is the Nation of Islam organization, of which Malcolm is a member in the first phase of his activism, calling for—in a sort of amplified mirror-image, redesigned so as to remove the sting of white nationalism—a complete territorial separation between whites and blacks, for the benefit of the black community, of course. The [End Page 23] organization links this call to what is termed "the racial problem" and argues that territorial separation is the only solution to the problem (Essien-Udom 259).When discussing separation, rather than emigration, in the context of the Nation of Islam, the emphasis is on Elijah Muhammad's (hereafter: E. Muhammad) demand for the US government to allocate a dedicated territory for the founding of the physical black nation.1 Along with land—and here we encounter a motif that is repeated in Malcolm X's speeches—is the demand for material aid for some time, so the black nation can find its footing (Essien-Udom 260). In fact, it is a call for independence on a territory allocated for that purpose, but part of the territory of the United States. Later, at the beginning of Malcolm's second phase of activism, after leaving the Nation of Islam, he said the following in a radio interview with A. B. Spellman:Spellman:What is the program for achieving your goals of separation?Malcolm:A better word to use than separation is independence. This word separation is misused. The thirteen colonies separated from England but they called it the Declaration of Independence; they don't call it the Declaration of Separation, they call it the Declaration of Independence. When you're independent of someone you can separate from them. If you can't separate from them, it means you're not independent of them.(Malcolm X, "Independence, Not Separation" 71–72)Whereas separation is a negative move—I break away from something—independence is a positive one: I become my own sovereign. In order to illustrate this, Malcolm argues, "[w]hen you're independent of someone, you can separate from them"—that is, that independence is a sufficient condition for separation. To this, he adds: "If you can't separate from them, it means you're not independent of them." That is, Malcolm emphasizes that separation is a necessary condition for independence. On the other hand, however, Malcolm's phrasing implies that separation is not enough for independence. Independence includes another process that separation lacks. It is therefore not "a better word," as stated in the beginning of the answer, but another process... (shrink)

Review of: A Black Gaze: Artists Changing How We See, Tina M. Campt (2021) Cambridge, MA: MIT Press, 232 pp., ISBN 978-0-26204-587-2, h/bk, $29.95 Dark Mirrors, Stanley Wolukau-Wanambwa (2021) London: Mack Books, 240 pp., ISBN 978-1-91362-039-4, p/bk, £25.00.

In lieu of an abstract, here is a brief excerpt of the content:464 Feminist Studies 44, no. 2. © 2018 by Feminist Studies, Inc. Claire Raymond and Sarah Corse A Distorting Mirror: Educational Trajectory After College Sexual Assault This article focuses on the broad and specific impacts of college sexual assault on student-survivors’ academic performance, academic trajectory, and their sense of self in relation to the university community. We frame this study with, and relate our findings to, the historic (...) and theoretical literatures that provide the context for this essay, including the large and burgeoning literature on the sexual assault of women college students and recent studies analyzing the role of fraternities in sexual assault, students’ fears and perceptions about college assault, bystander intervention training, and survivors’ grade-point averages after assault.1 Our study also builds on the history of feminist resistance to rape, feminist writings about rape, and campus activism against rape, with the 1. Cortney Franklin, Leana Allen Bouffard, and Travis C. Pratt, “Sexual Assault on the College Campus: Fraternity Affiliation, Male Peer Support, and Low Self-Control,” Criminal Justice and Behavior 39, no. 11 (2012): 1457– 80; Christine A. Gidycz, John R. McNamara, and Katie M. Edwards, “Women ’s Risk Perception and Sexual Victimization: A Review of the Literature,” Aggression and Violent Behavior 11, no. 5 (2006): 441–56; Jennifer Katz and Jessica Moore, “Bystander Education Training for Campus Sexual Assault Prevention: An Initial Meta-Analysis,” Violence and Victims 28, no. 6 (2013): 1054–67; Douglas W. Pryor and Marion R. Hughes, “Fear of Rape among College Women: A Social Psychological Analysis,” Violence and Victims 28, no. 3 (2013): 443–65; Carol E. Jordan, Jessica L. Combs, and Gregory T. Smith, “An Exploration of Sexual Victimization and Academic Performance among College Women,” Trauma, Violence, & Abuse 15, no. 3 (2014): 191–200. Claire Raymond and Sarah Corse 465 goal of shedding light on one aspect of the problem. Groundbreaking (and in some cases controversial) works analyzing the cultures of rape, such as Susan Brownmiller’s Against Our Will and Peggy Sanday’s “The Socio-Cultural Context of Rape” (in which Sanday creates the concept of the rape-producing culture—a concept that is central to our argument in this essay), found immediate reception with feminist activists of the 1970s and early 1980s.2 Mary Koss’s work regarding the scope of rape in college settings is also foundational to our study of campus rape.3 Susan Estrich, Catharine MacKinnon, and other feminist theorists in the mid-1980s developed critical apparatuses to shift the understanding of rape, providing a feminist framework wherein rape is interpreted as violence committed against a woman—in opposition to the patriarchal argument that rape is caused by a woman’s actions or is the product of her distortion of events after the fact.4 Angela Davis and bell hooks were deeply influential in framing understandings of the racial and racist aspects of feminist discussions of rape, while legal scholar Sarah Deer has more recently broadened understandings of the racialized discourse of rape, and Lisa Wade has written on twenty-first century hookup culture and the ways that this social landscape promulgates rates of maleon -female rape that are significantly higher on college campuses than in the general population.5 2. Peggy Reeves Sanday, “The Socio-Cultural Context of Rape: A Cross-Cultural Study,” Journal of Social Issues 37, no. 4 (1981): 5–27; Susan Brownmiller, Against Our Will: Men, Women and Rape (New York: Penguin Books, 1976). 3. Mary P. Koss, Christine A. Gidycz, and Nadine Wisniewski, “The Scope of Rape: Incidence and Prevalence of Sexual Aggression and Victimization in a National Sample of Higher Education Students,” Journal of Consulting and Clinical Psychology 55, no. 2 (1987): 162–70. 4. Susan Estrich, Real Rape: How the Legal System Victimizes Women Who Say No (Cambridge, MA: Harvard University Press, 1988); Duncan Chappell, Robley Geis, and Gilbert Geis, eds., Forcible Rape: The Crime, the Victim and the Offender (New York: Columbia University Press, 1977). 5. Angela Davis, “Rape, Racism, and the Myth of the Black Rapist,” in her Women, Race, and Class (New York: Vintage Books, 1983), 172–201; bell hooks, Feminist Theory: From Margin to Center (Boston: South End Press, 1984); Sarah Deer, The Beginning and End... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sacrificial Ram and the Swan QueenMimetic Theory Fades to BlackBrian Collins (bio)“We speak of a ‘black’ mirror. But where it mirrors, it darkens, of course, but it doesn’t look black, and that which is seen in it does not appear ‘dirty’ but ‘deep.’”—Ludwig Wittgenstein, Remarks on ColorThis paper explores the ways in which male and female bodies become the sites of mimetic desire and ritual (...) violence in Darren Aronofsky’s two companion films The Wrestler (109 min, Wild Bunch, 2008, DVD) and Black Swan (108 min, Fox Searchlight, 2010, DVD). Both films (which were originally intended to be one film, explaining their thematic consistency)1 share three elements. First, both explore cultural forms, wrestling and dance, respectively, that punish the body of the performer in a spectacular way. Second, both films end with the ritualistic dying (if not the death) of the main character. Third, in both films, this dying is accompanied by a kind of transformation that can only be called “becoming-animal.”2 Though this last point is much easier to demonstrate [End Page 207] in the case of Black Swan, I will argue that this is also true for The Wrestler. In interpreting these films, I will rely mainly on René Girard’s ideas about mimetic desire and the surrogate victim mechanism, supplemented by Slavoj Žižek’s notion of symbolic death. Symbolic death or “second death” is Žižek’s Hegelian appropriation of the psychoanalytic death drive. The death drive holds a special place for Girard, since he considers Freud’s formulation of the death drive his admission that the Oedipal complex cannot explain the compulsion to repetition, an admission for which he credits Freud’s honesty. In this paper, I demonstrate that pseudo-masochism, Girard’s alternate theory of repetition, and the Žižekian second death are both present in Black Swan and The Wrestler, and that each film plays on the animal/human distinction and ritual transformations of the body to explore these themes.Part One: The Sacrificial Ram“The function of the wrestler is not to win: it is to go exactly through the motions which are expected of him.”—Roland Barthes, “The World of Wrestling,” MythologiesThe Pseudo-Masochistic Body I: Becoming-RamWilliam Golding’s novel Pincher Martin: The Two Deaths of Christopher Martin (London: Faber and Faber Limited, 1956) follows a bitter, selfish, and intransigent sailor who finds himself clinging to a rock in the middle of the ocean, the sole survivor of a shipwreck, only to slowly learn that he is not a survivor at all, but is rather trapped like a character from The Twilight Zone in the utter loneliness of the timeless time between his titular “two deaths.” The first death comes when Martin goes down with his ship and the second comes when he is annihilated (possibly; the ending is ambiguous) by the “black lightning,” which Terry Eagleton identifies in his analysis of the book as “the fire of God’s ruthless love, which burns up those who cannot bear it.” Martin’s misotheism is his last defense against the terrifying power of love, and he continues to defy God as the black lightning engulfs him.3 Why the two deaths? Martin is unable to die properly the first time, Eagleton argues, “because he is incapable of love. Only the good are capable of dying. Martin cannot yield himself up to death because he has never been able to yield himself up to others in life.”4 [End Page 208]Randy “The Ram” Robinson, born Robin Ramzinski, (Mickey Rourke), the protagonist of The Wrestler, is, like Pincher Martin, between two deaths, isolated from the rest of humanity because of his inability to connect with others. But while Pincher Martin is defiant and bound for a self-created Hell because of his deliberate rejection of love, Ram is a much more sympathetic character—though no less doomed—because he tries but fails time after time to accept the love of those who could save him. Pincher Martin’s self-created internal obstacle is his hatred of God, externalized through his encounter with the black lightning. But in Ram’s case... (shrink)

The black hole information problem provides important clues for trying to piece together a quantum theory of gravity. Discussions on this topic have generally assumed that in a consistent theory of gravity and quantum mechanics, quantum theory is unmodified. In this review, we discuss the black hole information problem in the context of generalisations of quantum theory. In this preliminary exploration, we examine black holes in the setting of generalised probabilistic theories, in which quantum theory and classical (...) probability theory are special cases. We are able to calculate the time it takes information to escape a black hole, assuming that information is preserved. In quantum mechanics, information should escape pure state black holes after half the Hawking photons have been emitted, but we find that this get’s modified in generalisations of quantum mechanics. Likewise the black-hole mirror result of Hayden and Preskill, that information from entangled black holes can escape quickly, also get’s modified. We find that although information exits the black hole as predicted by quantum theory, it is fairly generic that it fails to appear outside the black hole at this point—something impossible in quantum theory due to the no-hiding theorem. The information is neither inside the black hole, nor outside it, but is delocalised. (shrink)

Businesses often attempt to demonstrate their commitment to diversity, equity, and inclusion (DEI) by showcasing women in their leadership ranks, most of whom are white. Yet research has shown that organizations confer status and power to women who engage in sexist behavior, which undermines DEI efforts. We sought to examine whether women who engage in racist behavior are also conferred relative status at work. Drawing on theory and research on organizational culture and intersectionality, we predicted that a white woman who (...) expresses anti-Black racism is conferred more status in the workplace than a white woman who does not. A pilot study (N = 30) confirmed that making an anti-Black racist comment at work was judged to be more offensive than making no comment, but only for a white man, not a white woman. Study 1 (N = 330) found that a white woman who made an anti-Black racist comment at work was conferred higher status than a white woman who did not, whereas the opposite held true for a white man, with perceived offensiveness mediating these effects. Study 2 (N = 235) revealed that a white woman who made an anti-racist/pro-Black Lives Matter comment was conferred lower status than a white woman who did not, whereas the opposite held true for a white man. Finally, Study 3 (N = 295) showed that people who endorse racist and sexist beliefs confer more status to a white man than to a white woman regardless of speech, but that people low in racism and sexism confer the highest status to a white woman who engages in anti-Black racist speech. These studies suggest that white women are rewarded for expressing support for beliefs that mirror systemic inequality in the corporate world. We discuss implications for business ethics and directions for future research. (shrink)

New foreword written by HeritageMom, Amber O'Neal Johnston. "During a time when the United States needed to be reminded of the contributions Black people have made to its democracy, freedom, music, literature, and more, W.E.B. Du Bois took on the task of enumerating the gifts that we've provided to our country. "When I began reading The Gift of Black Folk...the story that unfolded was one that I had never anticipated. We the People of the United States, all of (...) us, have left our indelible mark on America the Beautiful." -Amber O'Neal Johnston In 1924, William Edward Burghardt (W.E.B.) Du Bois (1868-1963) penned The Gift of Black Folk in response to systemic racism in the United States, showing that "...the American spirit is a new and interesting result of diverse threads of thought and feeling coming not only from America but from Europe and Asia and indeed from Africa." Du Bois was the first African American to earn a Ph.D. from Harvard University, and later became a professor of history, sociology, and economics at Atlanta University. In 1909 he co-founded the NAACP. Du Bois was a lifelong leader and proponent of civil rights. Amber O'Neal Johnston is a writer, speaker, and home educator who blends life-giving books with a culturally-rich environment for her four children and others. She's the author of A Place to Belong, a guide for families of all backgrounds to celebrate cultural heritage and embrace inclusivity in the home and beyond, and she's known for sharing literary "mirrors and windows" on HeritageMom.com. (shrink)

SummaryBoth Iberian and Spanish American liberals in the early decades of the nineteenth century based their political stances upon a particular vision of Spanish history. This vision, nourished by the stereotypes of the so-called ‘black legend’, correspond to an extremely gloomy picture of the main events and processes that had been taking place in the Hispanic monarchy since the late fifteenth century, such as the discovery and conquest of America and the outcome of the Comunidades of Castile war. This (...) essay shows how those first Hispanic liberals, many of whom spent several years in exile, hoping to make sense of that period of uncertainty and revolutionary crisis, sought inspiration in the philosophies of history which were beginning to spread from Northern Europe regarding the decisive role of Protestantism in the origins of modernity. In endorsing such a derogatory vision of the history of their own countries, which included an evaluation of Catholicism as a retrograde factor, those liberal writers and politicians bequeathed to their descendants an interpretative framework that would prove to be very long lasting. In fact, much of the political and intellectual historiography on the Iberian world would be conditioned for a long time by a paradigm which described its past as an anomaly in the Euroamerican context, and assumed the subordinate and peripheral position of the region, portrayed as a kind of ‘interior Orient’—that is, as an aberration of Western civilisation. (shrink)

Although it has been shown that immersive virtual reality can be used to induce illusions of ownership over a virtual body , information on whether this changes implicit interpersonal attitudes is meager. Here we demonstrate that embodiment of light-skinned participants in a dark-skinned VB significantly reduced implicit racial bias against dark-skinned people, in contrast to embodiment in light-skinned, purple-skinned or with no VB. 60 females participated in this between-groups experiment, with a VB substituting their own, with full-body visuomotor synchrony, reflected (...) also in a virtual mirror. A racial Implicit Association Test was administered at least three days prior to the experiment, and immediately after the IVR exposure. The change from pre- to post-experience IAT scores suggests that the dark-skinned embodied condition decreased implicit racial bias more than the other conditions. Thus, embodiment may change negative interpersonal attitudes and thus represent a powerful tool for exploring such fundamental psychological and societal phenomena. (shrink)

The story of Medea has exerted a powerful influence on creative artists since the time of Euripides. It is a tale that has been told in many ways and in several genres. This article offers a discussion of Christa Wolf's 1996 novel, Medea.Stimmen (Medea. Voices), a modern retelling through the voices, and conflicting perspectives, of the major characters involved with Medea, including Jason, Agameda, Akamas, Leukon, Glauce and Medea herself.Medea's role within feminist literary reception and women's literature cannot be overlooked (...) because of the crucial archetype she represents. One task of Feminist criticism has been to expose, deconstruct and rectify prevalent male (mis) interpretations of female archetypes, such as Medea, Medusa and others, and the patriarchal distortions they introduced through 3 000 years of male literature. In the patriarchal realm, Medea represents the Witch, the black Sorceress, and the archetype of the Negative Mother. These negative interpretations or archetypes may be attributed to misogynist perceptions of Medea as the vilest of women, because she committed the most despicable of all crimes — killing her children, the patriarchy's heirs — to take revenge on Jason, the husband who abandons her in Corinth (her place of exile) to marry Glauce, King Creon of Corinth's daughter, for reasons of political expedience.As a writer with her roots in the former East-German regime, Wolf perceives the Medea story as an account of a woman with both extraordinary powers and human shortcomings, who is misunderstood by the Colchians and the Corinthians alike. Wolf explores the distorted patriarchal motives for their loathing of Medea and Medea's ultimate powerlessness to do anything more than accept her tragic destiny. In doing so, Wolf does not attempt to manipulate the Medea story to suit the one-sidedness of some more radical feminist ideologies. (shrink)

This article investigates the role of shame in shaping the epistolary form and aesthetic structure of Alice Walker's The Color Purple. I argue that the epistolary framing presents a crisis in the development of Celie's shamed self‐consciousness. To explain the connection between shame and Celie's self‐consciousness, I build on Jean Paul Sartre's theory of existentialism and explore three phases of Celie's evolution as it is represented in three phrases that I identify as significant transitions in the text: “I am,” “But (...) I'm here,” and “It mine.” The first section examines how shame fractures Celie's self‐consciousness; the second focuses on how Celie positions and locates herself in the world; and the third explains how Celie mobilizes shame by connecting her self‐consciousness to a past that is shameful but also generative. I conclude by considering the novel's emergence in the Cosby/Reagan era in order to illuminate the mutual constitution of black familial pride and black racial shame. (shrink)

Social media platforms have not ceased to play a huge role in societal interaction since their arrival. Although it is undeniable that social media opens us up to new and exciting opportunities, we should not forget that it is a catalyst for some new or already existing social problems. This chapter aims to explore some political, ethical and epistemological issues that “Nosedive,” one of the most award‐winning Black Mirror episodes, tackles. Starting from capturing the actuality of Nosedive's narrative, (...) exploring the problems of the majority rule and the influence of the “others” in our way of acting and feeling, and coming up to the problems of the reliability of digital profiles, this chapter touches upon some contemporary fears and anxieties created around Social Media. (shrink)

Not too long after photography’s grand debut in 1839, physician and inventor Oliver Wendell Holmes described the new technology as a “mirror with a memory.” What might this phrase mean for the question of African Americans and their relationship to the vicissitudes of photography and the vagaries of memory in particular? Through readings of works of art and social activism that make use of lynching photographs, this essay considers ways in which photography has functioned as a technology of memory (...) for African Americans, what the essay calls critical black memory, and proffers a mode of historical interpretation that both plays upon and questions photography’s documentary capacity.The essay makes two claims specifically. First, the mechanical reproduction of lynching by way of the photograph has been central to the recounting and reconstitution of black political cultures throughout the Jim Crow and post-Civil Rights era. From the usage of lynching photography in pamphlets by early twentieth-century anti-lynching activists, to posters created by mid-century civil rights organizations, to their deployment in contemporary art and popular culture, this archive has been a constitutive element of black visuality more broadly. Second, African American engagements with photography as a “site of memory” suggest a mode of historical interpretation in which African Americans simultaneously critique the “truth-claims” of photography while they mobilize the medium’s documentary capacity to intervene in the classification and subjugation of black life. (shrink)

The Black Mirror episode Rachel, Jack and Ashley Too features a social robot called Ashley Too. It's said to have the same personality as pop singer Ashley O and is marketed as a way for her fans to be “best friends” with their “favorite pop star.” This chapter considers whether a robot such as Ashley Too could be a desirable friend. After exploring the features a social robot must have in order for our interactions with it to feel (...) like being with someone rather than just something, and outlining the classical conception of friendship as a school for virtue, this chapter concludes that Ashley Too is designed in such a way as to preclude her ever being a genuinely good friend. (shrink)