Resumen Este estudio se ha construido a partir de la literalidad de los fragmentos de La Comédie Humaine de Balzac, pero sólo para desplegar un proceso de descubrimiento del significado político de una novela nunca escrita por el autor, la del flâneur que comparte un espacio común con otros: los muchos . Esta forma de heroísmo, que el daguerrotipo balzaciano coloca bajo la luz de lo político, es el de una precaria subjetividad política que aprovecha los espacios cotidianos, para (...) descubrir al lector un insospechado bios politikós. (shrink)

This article rethinks the future of continental philosophy of religion through a central, annotative reading of Gianni Vattimo’s Not Being God. The reading develops from Agamben on citation and Žižek on the short-circuit into a new reading strategy of annotation as a development of weak thought. It argues for what is termed the flânerie of the weak thought of annotation, rethinking the future of continental philosophy of religion as para-thought. The future envisioned is a future that flâneurs, annotates and is (...) para- to both the religious and laicity and their associated strong claims and metaphysics. For Vattimo, weak thought helps us see that if we read Nietzsche as an announcement and not a claim, hermeneutics teaches us we cannot conceive ultimate objective truths. Therefore, after Heidegger, we reach the end of metaphysics and the age of weak thought, where we respond only to appeals and announcements. (shrink)

본 연구는 걸으면서 생각하는 사람, 즉 ‘호모 플라뇌르(Homo Flaneur)’라 불러도 좋을 ‘산책하는 사람’에 관한 것이다. 그간 ‘산책자(das Flaneur)’에 관한 연구는 발터 벤야민(Walter Benjamin)의 거리 산책자에 관한 이론을 중심으로 활발하게 탐구되어 왔다. 그의 이론에는 도시 공간을 중심으로 문화, 역사, 정치, 사회 등의 여러 현실적 분야에 대한 문제의식과 특별한 시선 및 고찰이 담겨 있다. 논자는 본 연구를 통해 도시 공간을 넘어, 생태적 자연 공간에서 벤야민의 산책자 이론을 확대 해석 및 변형을 시도할 것이다. 이러한 시도는 그간의 산책자에 관한 연구와 질적으로 차이나는 독창적인 것이라 (...) 할 만 하다. 벤야민의 산책자 이론을 차용하거나 변용하면서, 본 논고가 목적으로 하는‘생태 친화적 산책’의 이론적 가능성의 근거를 마련할 것이다. 벤야민의 산책자 이론에서 본 논고가 주목하는 것은 도시 공간을 하나의 ‘텍스트(Text)’로 읽는 도시-텍스트‘인상학(Physiognomik)’의 관점과 방법론이다. 그의 산책자 이론은 도시-텍스트의 성격, 도시 산책자의 시선, 도시 산책자의‘흔적(Spur)’읽기로 나누어 그 특징을 살펴볼 수 있다. 생태 공간으로 확장을 위한 새로운 관점의 연구가 필요한 시대적인 문제의식과 대안 마련의 필요성을 알도 레오폴드(Aldo Leopold)의‘보전의 미학’에서 제시할 것이다. 그러면서 벤야민의 산책자 이론에서 본 논고의 논지와 관련한 중요한 논점들을 해석하고 그 의미를 재구성할 것이다. 아울러,‘생태 친화적 산책’의 실천적 의미와 그 가능성을 지리산‘둘레길’의 생태적 재발견을 논하면서 이론을 뒷받침할 것이다. (shrink)

These essays from one of our most stimulating thinkers showcase Tallis's infectious fascination, indeed intoxication, with the infinite complexity of human lives and the human condition. In the title essay, we join Tallis on a stroll around his local park - and the intricate passages of his own consciousness - as he uses the motif of the walk, the amble, to occasion a series of meditations on the freedoms that only human beings possess. In subsequent essays, the flaneur thinks about (...) his brain, his relationship to the rest of the animal kingdom, his profession of medicine and about the physical world and the claims of physical science to have rendered philosophical reflection obsolete. Taken together the essays continue Tallis's mission to elaborate a vision of humanity that rejects religious myths while not succumbing to scientism or any other form of naturalism. Written with the author's customary intellectual energy and vigour these essays provoke, move and challenge us to think differently about who we are and our place in the material world. (shrink)

Volume 25, Issue 4, June 2020, Page 481-496.

The following text is inspired by a special issue of the journal ESPES vol. 10, no. 2 (2021) entitled _Everyday Aesthetics: European Perspectives _and returns to the theme of _flâneurie_. It focuses on the Czech environment and, after a brief outline of the artistic _flâneurism _associated mainly with Prague, it moves on to the specific phenomenon of the Brno _štatl _and _štatlaři_, which are to some extent related to _flâneurism_. The _štatl _community followed the tradition of the _plotna_, a more (...) closed group of socially weaker inhabitants of the city in the first half of the twentieth century, whose features included a special dialect – _hantec_. _Štatlaři _recruited more from the milieu of the educated people, bohemians, and artists, adopted, and transformed. The aim of the study is to show which characteristics _flâneurism _and “_štatlař-ism_” have in common and in what ways they differ. Furthermore, we will address the question of how knowledge of the phenomenon of _štatlaři _can influence the perception of flaneurs when they are walking around the city of Brno. (shrink)

Este artículo retoma la potencia de la figura del flâneur que Walter Benjamin toma de Charles Baudelaire a la luz de los efectos que han tenido los desarrollos de la tecnología en las grandes urbes contemporáneas. Analiza algunos de los senderos explorados por autores como Steven Shaviro, Manuel Castells y Katherine Hayles en torno al desarrollo de Internet y la inteligencia artificial, con el fin de actualizar algunas de las inquietudes y fabricaciones que Benjamin nos heredó para poder pensar (...) así, algunas estrategias y/o herramientas y poder fabricar un despertar, tal y como lo pensaba Benjamin. (shrink)

Dans cet article, nous reconstruisons le dernier travail de Walter Benjamin, le Livre des passages, comme celui d’un « chiffonnier ». Nous allons ainsi contre le courant qui consiste à considérer cette somme comme un livre achevé, écrit par un « flâneur » ambigu, et l’appréhendons au contraire comme une collecte systématique de rebuts de l’histoire, habituellement ignorés par les historiens, et qui attendent leur classement. La forme définitive doit venir d’une nouvelle dialectique du passé et du présent, qui (...) part de la position historique et politique de Benjamin. Le Livre des passages documente une méthode et une technique d’écriture que nous pouvons reprendre aujourd’hui. (shrink)

En este trabajo nos proponemos indagar en la figura de cavilador [Grübler] que Benjamin utiliza para caracterizar a Baudelaire en “Parque Central” y en el convoluto J que le dedica al poeta en la Obra de los pasajes. Los estudios sobre la cavilación en elfilósofo judeo-alemán se han centrado en su vínculo con el saber melancólico y la alegoría en el Origen del drama barroco alemán. En esta ocasión, procuramos mostrar los desplazamientos que se producen respecto del abordaje de la (...) cavilación enBaudelaire a la vez que sostenemos que esta actividad debe ser esclarecida no sólo en relación con la alegoría sino también con la flânerie. Entendemos que en torno de la cavilación se despliega una concepción materialista del pensamiento, en la que se plasman motivos no-humanos y se lleva a cabo una articulación entre teoría y práctica, o entre pensamiento y acción, a través de la complementariedad entre la actitud del alegorista y del flâneur. Así, con la figura del cavilador, Benjamin disputa con la tradición filosófica no sólo la perspectiva dominante del pensamiento en términos de actividad humana contemplativa sino también sus potencialidades crítico-políticas para dar cuenta de los fenómenos concretos de su tiempo en un horizonte que rebasa los límites de lo humano. (shrink)

This paper investigates a contemporary flowering of flânerie similar to that which Walter Benjamin analyzed in the first decades of the Parisian arcades. The flâneur has resurrected in a new space of the recent past as the computer hacker of digital culture. There is, however, a significant difference between the two figures’ ways of relating to the world that gives the hacker an important socio-political agency – with which Benjamin tried, unsuccessfully, to imbue in the flâneur.

As a literary figure or conceit, Haraway’s cyborg is kin to Dumas’ and Balzac’s flâneur. As a social science fiction, crossing and mixing categories, the cyborg is an abject quasi-body who does not fit the Enlightenment model of the political subject and actor. The ‘Manifesto’ has a geography of sites - Home, Market, Paid Work Place, State, School, Clinic-Hospital and Church - which this article updates and to which it adds the Body and the Web. However, Haraway’s ‘cyborg-analysis’ directs (...) attention to the nanotechnological scale of biotechnology. The spatialization implied in the ‘Manifesto’ is more like a surface, a site of regeneration, not a space of the body or of rebirth or the space of institutions such as the Market or School. The cyborg cannot be an Enlightenment political actor, but challenges the traditions, scale and space of the public sphere even as she carries ethical qualities and potentials for less normative forms of politics. (shrink)

The flâneur has remained little more than a hazy, nostalgic figure since first described in detail by Baudelaire in 19th-century Paris. Here, the work of Walter Benjamin, who did more than any other to advance the notion of flânerie post-Baudelaire, is considered alongside that of his friend and critic Theodor Adorno, in an attempt to conceive of a modern-day version of the type. The many critical exchanges between Adorno and Benjamin are envisioned as a moving dialectic: a constant interplay (...) between anticipation and suspicion. What results is a concept of flânerie that mingles a tentatively optimistic Benjamin with a perpetually sceptical Adorno, in order to conjure up an image of the individual strolling and wandering about the margins of contemporary urbanity, balanced on the cusp of hope and hopelessness. (shrink)

Discover the truth about sex in the city (and the country). Mapping Desire explores the places and spaces of sexuality from body to community, from the "cottage" to the Barrio, from Boston to Jakarta, from home to cyberspace. Mapping Desire is the first book to explore sexualities from a geographical perspective. The nature of place and notions of space are of increasing centrality to cultural and social theory. Mapping Desires presents the rich and diverse world of contemporary sexuality, exploring how (...) the heterosexed body has been appropriated and resisted on the individual, community and city scales. Editors David Bell and Gill Valentine have brought together contributors with a wealth of approaches to ways in which the spaces of sex and the sexes of space are being mapped out across contemporary culture. Among the many sexual geographies covered are: Lesbians at home and on the streets; gay men on fantasy islands; bisexual identities; The heterosexualization of the workplace; bachelor farmers and spinsters; surveillance and sexuality; prostitution; queer politics; sexual citizenship, and the transformation of intimacy. The book is divided into four sections: cartographies/identities; sexualized spaces: global/local; sexualized spaces: local/global; sites of resistance. Each section is separately introduced. Beyond the bibliography, an annotated guide to further reading is also provided to help the reader map their own way through the literature. Mapping Desire will be a valuable and accessible travelogue of information for anyone interested in social, cultural and political geography, lesbian and gay studies, cultural studies, or simply those who want to find out more about the sexual landscape of contemporary society. Contents: Part I: Cartographies/Identities; Resolving Riddles: The Sexed Body, Julia Cream ; Locating Bisexual Identities: Discourses of Bisexuality and Contemporary Feminist Theory, Clare Hemmings; Of Moffies, Kaffiers and Perverts: Male Homosexuality and the Discourse of Moral Order in the Apartheid State, Glen Elder; Femme on the Streets, Butch in the Sheets (a Play on Whores), Alison Murray; Body Work: The Performance of Gendered and (Hetero)Sexualized Identities in City Workplaces, Linda McDowell; Part II: Sexualized Spaces: Global/Local; Whenever I Lay My Girlfriend That's My Home: The Performance and Surveillance of Lesbian Identities in Domestic Environments, Lynda Johnston and Gill Valentine; The Lesbian Flaneur, Sally Munt; Fantasy Islands: Popular Topographies of Marooned Masculinities, Gregory Woods; Sexuality and Urban Space: A Framework for Analysis, Lawrence Knopp; Part III: Sexualized Spaces: Local/Global; "And She Told Two Friends...": Lesbians Creating Urban Social Space, Tamar Rothenberg; Trading Places: Consumption, Sexuality and the Production of Queer Space, Jon Binnie; Bachelor Farmers and Spinsters: Gay and Lesbian Identities and Communities in Rural North Dakota, Jerry Lee Kramer; (Re)Constructing a Spanish Redlight District: Prostitution, Space and Power, Angie Hart; Part IV: Sites of Resistance; "Surveilliant Gays": HIV, Space and the Construction of Identities, David Woodhead; Sex, Scale and the "New Urban Politics": HIV-Prevention Strategies from Yaletown, Vancouver, Michael Brown; "Boom, Bye, Bye": Jamaican Ragga and Gay Resistance, Tracey Skelton; The Diversity of Queer Politics and the Redefinition of Sexual Identity and Community in Urban Space, Tim Davis; Perverse Dynamics, Sexual Citizenship and the Transformation of Intimacy, David Bell; Guide to Further Reading; Bibliography. (shrink)

The launching of philosophical pursuits undertaken in an East-West trajectory at the first East-West Philosophers’ Conference in 1939 represents a turning point in philosophy. However, as groundbreaking as this approach was, it left out all philosophical cultures that did not fit the initial framework. Islamic philosophy, being viewed as neither Western nor Eastern (Asian), was thus marginalized from the start. I introduce “Bricolage” – a method emphasizing curiosity, humility, and playfulness – as a more nuanced way of engaging with diverse (...) philosophical traditions. “Bricoleurs” are interculturalists who remain open to the use of different methodologies: they are “flâneurs” walking through diverse philosophical landscapes for sheer intellectual pleasure. (shrink)

This article reviews Scott McQuire's book, The Media City, which focuses on the historical formation of the media-architecture complex of the current urban environment. While the book provides rich insights into the ways various media technologies have become interconnected with urban architectural structures, the underlying concept of media in McQuire's discussion could be criticized in three respects: (1) visual-centred, (2) technology-based and (3) real-time oriented. After considering these three points in the context of the theoretical ideas put forward by Henri (...) Lefebvre, Friedrich Kittler and Walter Benjamin, particular attention is paid to Benjamin's prominent figure of the flâneur. Through reconsidering the experience of the flâneur in terms of the technique of getting lost in the city, possibilities are suggested as to thinking differently about the `media city'. In other words, it is proposed that we should examine the theoretical possibilities concerning the modern urban experience between the `media city' and the `city as a medium'. (shrink)

Among the more prominent nineteenth-century types populating Benjamin's Arcades Project—collector, flâneur, gambler, prostitute, worker, revolutionary—the figure of the flâneur is exemplary for the way he perceives the landscape of the modern city. Distracted to the point of intoxication by the spectacle of the streets, which he views for the most part en passant, he is nonetheless intimately, micrologically involved with some of the most familiar and therefore often most inconspicuous aspects of urban existence. Benjamin underlines this function of (...) “excavating” the everyday; in his presentation, flânerie is a mode of experience that in each case incorporates a certain historical remembrance.…. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

The advent of the ‘mega’ or world city seems inseparable from the ambivalent and transient experience of modernity – the ideals of liberty, individuality, property, accelerating progress, and, for many, the realities of immobility, anonymity, poverty, and arresting regression. When more than half of the global population pursues an existence within an urban frame, the densities and boundaries of urban spaces swell to fantastical proportions. With the vast increase in size, so the experiences and expectations of the city become more (...) pronounced and profound. This introduction to this special issue of Thesis Eleven, ‘Big City Blues’, discusses the themes and stories of the articles below, which present different aspects of life in the metropolis. The over-stimulation of the desensitized urbanite, the wandering flâneur who fortifies him/her self against fragmenting pressures, the explosion of everyday peace into riots, the battles for political and social recognition of identity and property rights, and the financial meltdown of an entire municipal institution, are just some of the things that take place in the modern city, and are explored here. (shrink)

Avec les nouvelles technologies de l’information, la condition urbaine s’est métamorphosée : la ville et l’idée de survivance participent de l’imaginaire urbain reflété par les medias. Cette perception de l’urbain sous une logique spatio-temporelle « cinématographique » est une redéfinition du flâneur où l’imagination sort de la saturation des illusions modernes en nous forçant vers des moments d’extase morbide : une hallucination sédative qui est vécue à travers d’une telle intensité qui finit par questionner notre sens de la ville (...) via une nouvelle appréciation du corps. (shrink)

Walter Benjamin is discussed in this article to speak to the character of our experiences in the world as we try to animate our freedom in the midst of phantasmagoria. While we may indeed be trapped in the slumber of phantasmagoria and its many nightmares of despair, it is still possible to blast away the sands of sleep and awaken to a morally redeemed world fashioned through our engagement with various dreams of freedom. First, this article will explore the concept (...) of phantasmagoria, which is a symbolically rich term used by Benjamin to speak to the complex ways in which we are mired within the combined material and aesthetic trappings of an advanced capitalist world. Such an exploration will consider three archetypes of character (the gambler, the flâneur and the collector) and their corresponding experiences (fashion, boredom and interiority) in an attempt to unite various convolutes from The Arcades Project to consider freedom in a world spectrally haunted by such phantasmagoria. Second, we will consider the possibility of becoming dialectically startled before the angel of history and its potential to animate our weak Messianic power. Such an act must involve the building-up of a redemptive imagination as a means to speak the truth of our place as the makers of value in the world challenged to destine our own journey in the ongoing project of justice. (shrink)

La flânerie offre un pont qui relie les rives de la gestion et de la philosophie. Cet article clarifie d’abord le sens de la flânerie chez Taylor, sa distinction entre flâneries naturelle et systématique, et l’attention spécifique porté par Taylor à cette dernière, collective, organisée et sournoise, donc plus difficilement rationalisable. Il confronte ensuite Taylor aux réflexions de Benjamin s’attachant aux métamorphoses du flâneur dans le Paris du xix e siècle, pour interroger enfin l’ambiguïté de la flânerie et son (...) potentiel révolutionnaire : pour Taylor, la maîtrise du désir devient l’objet même du management ; pour Benjamin, la flânerie apparaît comme l’une des dernières possibilités de voir éclater l’espace-temps homogène de la Fin de l’Histoire. Le management contemporain clôt cette tension en intégrant les actions et les pensées des travailleurs dans de multiples boucles de rétroaction. (shrink)

Two widely shared but diametrically opposed views inform what theories we have on the everyday: one, which we might call the feminine or feminist, though it is not necessarily held by women or self-described feminists, links the everyday with the daily rituals of private life carried out within the domestic sphere traditionally presided over by women; the other, the masculine or masculinist, sites the everyday in the public spaces and spheres dominated especially, but not exclusively, in modern Western bourgeois societies (...) by men. According to the one, the everyday is made up of the countless repetitive gestures and small practices that fall under the heading of what the existentialists called the contingent. According to the other, the everyday is made up of the chance encounters of the streets; its hero is not the housewife but the flâneur. In the word of Maurice Blanchot:The everyday is human. The earth, the sea, forest, light, night, do not represent everydayness, which belongs first of all to the dense presence of great urban centers. We need these admirable deserts that are the world’s cities for the experience of the everyday to begin to overtake us. The everyday is not at home in our dwelling-places, it is not in offices or churches, any more than in libraries or museums. It is in the street—if it is anywhere.1 1. Maurice Blanchot, “Everyday Speech,” trans. Susan Hanson, in “Everyday Life,” ed. Alice Kaplan and Kristin Ross, special issue of Yale French Studies, no. 73 : 17. Naomi Schor is the William Hanes Wannamaker Professor Romance Studies at Duke University and coeditor of differences: A Journal of Feminist Cultural Studies. Her most recent book is Reading in Detail: Aesthetics and the Feminine . She is currently completing a book entitled George Sand and Idealism. (shrink)

Although Joyce was losing his sight when he wrote Ulysses, Stephen's and Bloom's visual experiences are extraordinarily rich and complex. Absorbing the influences of popular visual attractions such as dioramas, stereoscopes and mutoscopes, their perceptions of Dublin are shaped by what Walter Benjamin calls 'unconscious optics'. Analyzing closely the texture of their impressions and of Joyce's prismatic narrative styles, Philip Sicker explores the phenomenon of sight from a wide-ranging set of perspectives: eighteenth-century epistemology, theories of the flaneur, Italian Futurist art, (...) photography, and the silent films Joyce watched in Dublin and Trieste. The concept of 'spectacle' as a mechanically-constructed visual experience informs Sicker's examination of mediated perception and emerges as a hallmark of modernist culture itself. This study is an important contribution to the growing interest in how deeply the philosophy and science of visual perception influenced modernism. (shrink)

The literature of modernity, describing the fleeting, anonymous, ephemeral encounters of life in the metropolis, mainly accounts for the experiences of men. It ignores the concomitant separation of public and private spheres from the mid-nineteenth century, and the increasing segregation of the sexes around that separation. The influential writings of Baudelaire, Simmel, Benjamin and, more recently, Richard Sennett and Marshall Berman, by equating the modern with the public, thus fail to describe women's experience of modernity. The central figure of the (...) flâneur in the literature of modernity can only be male. What is required, therefore, is a feminist sociology of modernity to supplement these texts. (shrink)

This article investigates the constitutive ties of modernity and the modern subject to the phenomenon of boredom, through its interpretation by Walter Benjamin. The nineteenth century—with Paris as its capital—forms the material for this interpretation, and the fragmentary constellations of quotation and reflection in Convolute D of The Arcades Project present boredom both in its social aspect (the city as protagonist) and as experience. A number of the forms of boredom is thus elaborated: the relation of city dweller to nature (...) and the cosmos, as weather; in its temporal orientation, as waiting; the mechanistic character of the modern world and its subject, as repetition; in the cycles of production and consumption, as the ideological boredom of the ruling class. Among three of Benjamin’s typologies for the bored modern subject—the gambler, the flaneur, and the one who waits—I turn particularly to the experience of the flaneur, the dedicatee of Convolute D. In flaneurie the experience of boredom is accumulated and distributed, and in this way the flaneur is in the city but also constitutes and memorializes it, as boredom. This ambivalent relation to the urban fabric and landscape is also captured in his characteristic observation and exhibition, his consumption without acquisition and without production. After considering some possible antitheses to Benjamin’s types of boredom, I conclude with the reflection that passing over boredom to its opposite would require the overcoming of modern subjectivity itself. (shrink)

Everyday surveillance work is increasingly performed by non-human algorithms. These entities can be conceptualised as machinic flâneurs that engage in distanciated flânerie: subjecting urban flows to a dispassionate, calculative and expansive gaze. This paper provides some theoretical reflections on the nascent forms of algorithmic practice materialising in two Australian cities, and some of their implications for urban relations and social justice. It looks at the idealisation – and operational black boxing – of automated watching programs, before considering their impacts on (...) notions such as ‘the right to the city’ and ‘the right to the face’. It will argue that the turn to facial recognition software for the purposes of automating urban governance reconstitutes the meanings and phenomenology of the face. In particular, the fleshly and communicative physicality of the face is reduced to a measurable object that can be identified by a virtualised referent and then consequently tracked. Moreover, the asymmetrical and faceless nature of these machinic programs of recognition unsettles conventional notions of civil inattention and bodily sovereignty, and the prioritisation given to pattern recognition renders them amenable to ideas/ideals from phrenology and physiognomy. In this way, algorithmic governance may generate not only forms of facial vulnerability and estrangement, but also facial artifice, where individuals come to develop tacit and artful ways of de-facing and re-facing in order to subvert the processes of recognition which leverage these modes of biopower. Thus, the datafication of urban governance gives rise to a dynamic biopolitics of the face. (shrink)

Resumen Este artículo explora las figuras del flâneur y del "mestizo". Reúno con el sustantivo "mestizo" una serie de operaciones estilísticas y retóricas que emplea Echeverría para describir el mestizaje como fenómeno histórico de las sociedades urbanas en las colonias españolas en los siglos XVI y XVII. Partiré de la lectura de Echeverría a Benjamin de principios de los años noventa. Luego analizaré la figura del flâneur y la del mestizo para mostrar algunas líneas de conexión, desde la (...) estrategia alegórica a la relación entre el barroco y la sociedad moderna. Por último, consideraré ambas figuras como paradigmas de sujetidad barroca, es decir, como principios de inteligibilidad de formas sociales que resisten las contradicciones de la modernidad capitalista.This article explores two figures: the flâneur and the "mestizo". Under the word "mestizo" I gather a group of stylistic and rhetorical operations that Echeverría uses to describe mestizaje as a historical phenomenon occurred in the urban societies of spanish Colonies during the 16th and 17th centuries. I start with a historical approach to Echeverría's readings of Benjamin from the beginning of the 1990s. Then I show some possible connections between both figures, from the allegorical strategy to the relationship between baroque and modern society. Finally, I conceive them as paradigms of baroque sujetity; that is, principles of intelligibility of social forms that resist the contradictions of Western modern capitalism. (shrink)

Toward concordia: Dialogue and Poetry. – The question whether the governance and autonomy of medieval and early modern cities and the participation of their citizens in communal affairs may gesture toward a form of communal self-governance or it is yet another form of the rule of the privileged has re-emerged with new answers in recent scholarship. It was also one of the topics of the lecture series, Urban Governance and Civic Participation in Words and Stone, as part of which Prof. (...) Ferenc Hörcher also gave a talk. Although the following interview is based primarily on Prof. Hörcher’s lecture, the discussion joyfully meandered through a number of other, fascinating topics, like the value of philosophical dialogue vis-a-vis debate, the literary figure of the flaneur, the political ideas of Dante and the philosophical potential of poetry. (shrink)

The article reinterprets the sources of Parisian flânerie with the view of exploring 19th-century understandings of cultural and aesthetic modernity. It distinguishes between two separate though interconnected formulaic narratives about the flâneur. The first is the popular flâneur, associated with a new type of urban commercial culture characteristic of the 1840s; while the second is the avant-garde flâneur, embodied in Baudelaire's critical texts of the 1850s and 1860s. Juxtaposing these two different narratives of flânerie allows us to (...) draw two conclusions. The first is that the 19th century's evaluations of cultural modernity were considerably more optimistic than later interpretations would lead one to believe. The second is that the realms of popular and avant-garde cultures were far more porous and inter-dependent than canonical literary criticism has contended. (shrink)

DIALETICS AT A STANDSTILL: BENJAMIN'S "DENKBILDER":0Benjamin's Thougt-Images in Einbahnstraße - Gustan Asselbergs; 0Sichtlich sich verbergend: Die Autor-Figur des Passagen-Werks - Wolfram Malte Fues; 0LIMINAL FIGURES: CHILD AND FLANEUR:0The Child at the Threshold: Walter Benjamin's Berliner Kindheit um 1900 - Corina Stan; 0The Flâneur and the Socio-Economic Critique - Nassima Sahraoui; 0UNSIGHTLY FIGURES: 0Walter Benjamin's Figures of De-Figuration: The Barbarian, the Destructive Character, and the Monster - Sami R. Khatib; 0ANGELS AND HISTORIANS: 0Closing Time: Benjamin, Temporality, and the Problem of (...) Political Organization - Bennett Carpenter; 0Of Fish and Men: Benjamin's Allegorist and the Meaning of Life - Madeleine Kasten; 0Walter Benjamin on Charlie Chaplin: The Rehabilitation of the Allegorical in Modernity - Daniel Mourenza; 0THE NARRATOR AND THE POLITICS OF SENSES: 0"Drawing o an Unlikely Source": The "Erzähler", the Islamic Revival, and Benjamin's Philosophy of Language - Ton Groeneweg; 0TRANSLATION BETWEEN FOREIGNNESS AND KINSHIP: 0Bleakness in the Age of Google: Walter Benjamin and the Possibility of Redemptive Translation - Orr Scharf; 0Walter Benjamin's Translator/Critic as a Model for Transcultural Thought and Practice - Gisela Brinker-Gabler.; 0THE TASK OF CRITIC: 0Lektüre als Opfer: Der Kritiker in "Wider ein Meisterwerk" und dem Trauerspielbuch - Anna Wotkowicz; 0THE RIGHTEOUS AS MEDIATOR OF LINGUISTIC EXPERIENCE: 0"Im Anfang war das Wort": Von Adam, zwei Bäumen und dem Gerechten - Gerard Visser. (shrink)

Este artículo parte de una interpretación del concepto de “fantasmagoría” en el Trabajo de los pasajes de Walter Benjamin según la cual su sentido supone una ampliación de la comprensión marxiana de la ideología que lo lleva a englobar tanto el terreno de las ideas de la sociedad moderna como la materialidad de sus producciones culturales y sus formas de experiencia en su interacción recíproca. Sobre esta base, y atendiendo al componente onírico que Benjamin atribuye a lo fantasmagórico, el artículo (...) analiza en qué consisten lo que llama las fantasmagorías del espacio, vinculadas a la figura del flâneur, y las fantasmagorías del tiempo, que asocia al personaje del jugador. Dada la correspondencia que además establece entre estas dos clases de fantasmagorías, se propone una hipótesis hermenéutica que explica su correlación, así como el significado que esta adquiere en el proyecto de los pasajes. (shrink)

Ce texte a déjà paru dans L'espace Géographique, n° 1, 1er trim. 2007, p. 15-26. Nous remercions Rachel Thomas de nous avoir autorisé à le reproduire ici. Résumé : La thématique de la marche en ville a occupé une grande partie de la littérature du XIXe et du début du XXe siècle. Au point qu'aujourd'hui, la figure du flâneur, décrite par Walter Benjamin, domine encore nos représentations. Pour autant, si marcher en ville requiert un art du voir dont le (...) flâneur demeure un artiste accompli, il engage aussi le - Sociologie – Nouvel article. (shrink)

Der eigentümliche Ausdruck, der heute meist für Welt steht, der Ausdruck Umwelt, scheint ein Welt-Verhältnis auszudrücken, das den Akzent nicht aufs Objekt, sondern aufs Subjekt verlegt hat, auf die den Weltmittelpunkt einnehmende Monade. Diese scheint die Welt nicht mehr als gegebene, sondern als Ensemble von Varietäten zu verstehen, auf die sie zugreifen kann, dem Flaneur auf den Supermärkten dieser Welt vergleichbar. Der Form nach hält sie an einem Eigentumsbegriff fest, der als substantiell, als statisch auslegt, was in Wirklichkeit dynamisch ist (...) in einer Welt, die seit Generationen keinerlei festes Eigentum mehr gelten lassen konnte. Es ist der permanente Zugriff, der verrät, daß er dem in Wahrheit Rechnung trägt. Das >Eigentum sieht sich auf den permanenten Gestus der Aneignung angewiesen. Ein perverseres System ist geschichtlich wahrscheinlich niemals beobachtet worden. Nicht das viel gescholtene Konkurrenzprinzip, ein weit virulenteres Movens treibt es an. Denn das Aneignungsprinzip. (shrink)

This sharp, witty study of a book never written, a sequel to Walter Benjamin's Arcades Project, is dedicated to New York City, capital of the twentieth century. A sui generis work of experimental scholarship or fictional philosophy, it analyzes an imaginary manuscript composed by a ghost. Part sprawling literary montage, part fragmentary theory of modernity, part implosive manifesto on the urban revolution, The Manhattan Project offers readers New York as a landscape built of sheer life. It initiates them into a (...) world of secret affinities between photography and graffiti, pragmatism and minimalism, Andy Warhol and Robert Moses, Hannah Arendt and Jane Jacobs, the flâneur and the homeless person, the collector and the hoarder, the glass-covered arcade and the bare, concrete street. These and many other threads can all be spooled back into one realization: for far too long, we have busied ourselves with thinking about ways to change the city; it is about time we let the city change the way we think. (shrink)

Lately the concept of flânerie has raised an intense academic debate: The flâneur can be found much more frequently, not only in literary texts and in literary studies, but also in cultural and historical sciences, postcolonial studies, anthropology, and philosophy as well as in the field of popular science. Starting with a review of literary and philosophical traditions and the further developments of the concept of flâneur, this article aims to explore the epistemological implications of flânerie and to (...) read them both in a transdisciplinary perspective and in terms of complexity theory. (shrink)

ABSTRACT Using Michael Fried’s work on absorption and theatricality, and Walter Benjamin’s figure of the flâneur and its counterpart, the detective, and his disparaged figure of the badaud, this article considers ways to characterize the walks of Jean-Jacques Rousseau’s solitary walker, Socrates on the way to the Symposium, Henry V walking on the battlefield the night before Agincourt, and Trayvon Martin the evening he was killed by George Zimmerman. Each of these walks is a variation on contemplation, the risk (...) of death, and the role of absorption and theatricality. I work toward a notion of theatrical absorption, or absorptive theatricality—the right to be out walking dressed in what could be a costume, and yet absorbed. This right includes the right to make it home alive, a right denied to Trayvon Martin. The article explores the tensions that might explain this tragic fact. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from floor (...) to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)

Urban centers are being transformed into consumer tourist playgrounds made possible by dense networks of surveillance. The safety and entertainment however, come at an unseen price. One of the historical roots of surveillance can be connected to the modern information base of tracking individuals for economic and political reasons. Though its antecedents can be traced via Foucault's account of panoptic discipline which walled in society's outcasts for rehabilitation, the following essay explores the shift to the urban panopticism of today where (...) society's outcasts are subtly filtered out of "public" view. Juxtaposing a sociological account of the concentration camp with urban Disneyization fosters a greater understanding of how surveillance creates certain categories of citizenship. In particular, how urban surveillance intensifies Walter Benjamin's description of the flâneur who often experiences the brunt of the new urban panopticon's filtering power. (shrink)

The promise of interactivity is quietly but systematically undergoing a downgrade that will require a lot less activity on the part of the user – and a lot more on the dispersed ‘smart’ objects that will eventually populate their lives. This article reads the promotional literature on ‘smart’ clothes through the lens of Benjamin’s discussion of fetishism and flânerie, considering the ways in which such clothes provide a mobile form of bourgeois interiority: a ‘casing’ that allows the user to make (...) an individualized impression on the world. The promise is one of comfort and convenience, offered in exchange for the ability to gather detailed information about consumers. Smart clothing realizes the phantasmagoria of the commodity world described by Benjamin – one in which the commodities embark on a life of their own, taking on the active role ceded by the pacified consumer. At the same time, one can recognize in the digitally encased consumers the after-image of the flâneur insofar as they participate in the work of being watched. The article concludes with a discussion of the uncanniness of this re-emergent form of commodity fetishism. (shrink)