Opening with a sensitive discussion of the controversy of the Heidegger 'affair', Miguel de Beistegui examines key themes in Heidegger's philosophy, linking this throughout with the more political public Heidegger.

During the last decade a new utopian horizon has emerged from the radical left: that of a future postcapitalist society in which technological progress and renewable energy finally take care of our material needs while robots do most our work for us, making paid employment a thing of the past. Instead, we can focus on fulfilling our desires and dreaming up new ones, leading lives of luxury and ease. This utopia, often called “fully automated luxury communism," could be reached through (...) opportunistically accelerating features of the existing neoliberal capitalist system. -/- However, behind this vision of a bright, sustainable future lurks a worrying political prospect. I show how the post-capitalist’s philosophical prejudice against work comes at a high political cost. By painting productive activity as mere drudgery that machines will emancipate us from, they also end up giving up on work as the root of radical democratic agency. The luxury communist proposal ends up resembling an extreme case of the neoliberal hegemony that it claims to be fighting against, a centrally ruled world completely focused on private enjoyment of luxury and devoid of any shared understanding of human flourishing on which democratic public life could thrive – a political dystopia. (shrink)

Resumen: Este artículo se propone ahondar en la función política del relato distópico, entendido como un tipo de imagen política. Siguiendo la intuición de Gordin, Tilley y Prakash (2010) de que las distopías son utopías que han errado su curso, se plantea que el relato distópico busca construir una imagen política indeseable que permita romper la captura del deseo que ha producido la persecución de una determinada ilusión-utopía. Se propone, como criterio de lectura de las narrativas distópicas, que su emergencia (...) y proliferación se produce a partir de las experiencias históricas que dan cuenta del fracaso del ímpetu emancipador de la modernidad y su deriva en sistemas sociales y políticos que perfeccionan la dominación. En particular, en los términos de Wallerstein (1995), el proceso con el que la modernidad de la tecnología se impone históricamente a la modernidad de la liberación. Abstract: This article aims to delve into the political function of the dystopian narrative, understood as a type of political image. Following of Gordin, Tilley & Prakash´s (2010) intuition, that dystopias are utopias that have gone wrong, it suggests that the dystopian narrative seeks to build an undesirable political image that permits the breaking away from the capture of desire produced by the pursuit of a certain utopia-illusion. We propose, as a key to the reading of dystopian narratives, that their emergence and proliferation stems from the historical experiences that account for the failure of the emancipatory impetus of modernity and its drift into social and political systems that perfect domination. Specifically, in the terms of Wallerstein (1995), the process by which the modernity of technology is historically imposed on the modernity of liberation. (shrink)

This article offers an analysis of texts which were written in 1802-3 and published in 1812 under the title Panopticon versus New South Wales, namely Jeremy Bentham’s first two letters to Lord Pelham and A Plea for the Constitution, arguing that, in his attempt to show the superiority of his Panopticon plan over the transportation scheme, the reformer depicted New South Wales as a Gothic dystopia. ‘Gothic’ is here understood as a literary genre, an ideological term and a critical tool. (...) Bentham upset the conventional cartography of his time by showing that the ‘archaic’ or ‘barbarian’ practices that Gothic novels located in Catholic Europe were actually present in British penal policies. In addition to drawing on the rhetoric and the dichotomies which underlay the Gothic novels published during his lifetime, Bentham anticipated scenarios – such as reverse colonization and contamination – which would be explored in Victorian fiction. By extrapolating in dystopian fashion from trends which were present in the British body politic, Bentham’s Australian writings show how a historical period may be haunted by its future potentialities. (shrink)

Despite the stereotypical, outsider view of Thailand as a thriving hub of international sex tourism, traditional and local constructions of Thainess instead privilege the position of the ‘good’ Thai woman—a model of sexual propriety, demure physicality and aesthetic perfection. This is the image of femininity that is heralded by Thailand's Tourist Authority and by government agencies alike as a marketable symbol of cultural refinement and national pride. But this disturbing ‘utopian’ construction of femininity might for some be considered a dystopia (...) shaped by forms of power centred on elite urban rule. In mainstream definitions of Thainess, the monstrous and grotesque inverses of ‘good’ womanhood are located in the ‘dystopian’ visions of rural-based folk traditions that abound with malevolent female spirits and demons, and in the contemporary Thai horror films that draw on these tropes. Adopted by Thai feminists and by street protestors in Bangkok at times of recent political unrest, portrayals of a ‘monstrous-feminine’ have been adopted as central to a carnivalesque strategy of response and resistance to elite discourses of control. Such forces serve to symbolically disturb and destabilise middle-class constructions of a Utopian vision of Thainess with Bangkok as its cultural core. This paper examines instances of how and why the counter-strategy of primitivism and monstrosity has developed, and the extent to which it translates ‘dystopian’ expressions of female sexuality in new imaginaries of ‘dystopia’ as a space of liberation from stultifying cultural and political norms. (shrink)

The article discusses the novel 2025. An-Nida al-Akhir [2025. The Last Call] written by a young Egyptian journalist and writer born in 1982 - Mustafa al-Husayni. The novel was published in early 2011, between the fall of Zayn al-Abidin Ibn Ali in Tunisia and of Husni Mubarak in Egypt. It describes a revolution against the regime of Jamal al-Mubarak, son of Husni, spurred by a group of young Egyptians. The story takes place in 2025 and anticipates the development of the (...) political situation in Egypt and the Middle East between 2011 and 2025 in a utopian/dystopian manner. Alongside Utopia by Ahmad Khalid Tawfik and the poetry of Usama al-Abnubi and Abd ar-Rahman al-Abnudi, al-Husayni’s book is considered to be a forecast of the Arab Spring in Egypt. (shrink)

In this essay we explore a variety of instrumental and intrinsic values associated with teaching philosophy in wartime Ukraine. Duclos, an American, argues that teaching philosophy in Ukraine can cultivate habits of thought and action that promote democratic citizenship while opposing authoritarian dogmatism. Duclos further argues that the intrinsic joy associated with philosophical activity should not be overlooked, even in times of crisis. Conscious of Ukraine’s Soviet past, Bila, a Ukrainian, cautions against using philosophers and philosophy departments as an ideological (...) arm of any political party. She then argues that philosophy has value as a distinct form of thinking with the power to provide consolation. Finally, she identifies philosophical activity as agent of creative change. To teach philosophy in wartime Ukraine is to advance these instrumental and intrinsic values with an eye towards influencing the Ukrainian society that will emerge after the war. (shrink)

This article examines Harold Ramis’s 2005 noir comedy _The Ice Harvest_ as the critically dystopian counter-panel to his beloved 1993 film _Groundhog Day_, a film frequently discussed within the paradigm of utopia. While starkly different in genre, tone, and reception, the two films comprise a dialectical dyad that registers the historical transition from the utopian cultural effervescence of the early 1990s to the tragic foreclosure of imaginative horizons and the dystopian transformation of economic, political, and social landscapes in the (...) new millennium. In _The Ice Harvest_, the author argues, this is achieved through a strategic reactivation of film noir as a variant of the critical dystopia. (shrink)

The figure of the intellectual looms large in modern history, and yet his or her social place has always been full of ambiguity and ironies. Between Utopia and Dystopia is a study of the movement that created the identity of the universal intellectual: Erasmian humanism. Focusing on the writings of Erasmus and Thomas More, Hanan Yoran argues that, in contrast to other groups of humanists, Erasmus and the circle gathered around him generated the social space—the Erasmian Republic of Letters—that allowed (...) them a considerable measure of independence. The identity of the autonomous intellectual enabled the Erasmian humanists to criticize established customs and institutions and to elaborate a reform program for Christendom. At the same time, however, the very notion of the universal intellectual presented a problem for the discourse of Erasmian humanism itself. It distanced the Erasmian humanists from concrete public activity and, as such, clashed with their commitment to the ideal of an active life. Furthermore, citizenship in the Republic of Letters threatened to lock the Erasmian humanists into a disembodied intellectual sphere, thus undermining their convictions concerning intellectual activity and the production of knowledge. Between Utopia and Dystopia will be of interest to scholars and students interested in Renaissance humanism, early modern intellectual and cultural history, and political thought. It also has much to contribute to debates over the identity, social place, and historical role of intellectuals. (shrink)

Throughout its brief history the philosophy of technology has been largely concerned with the debate over the nature of technology. Typically, technology has been viewed as being essentially another term for applied science, the practical application of scientific theory to the material world. In recent years philosophers and cultural critics have characterised technology in a far more problematic fashion, as an authoritarian power with the ability to bring about far-reaching cultural, political and ecological effects. Proponents of the former view (...) are often termed instrumentalists and those of the latter technological determinists. The debate between them revolves around the question of the fact/value distinction, namely whether technology can be deemed to be value-neutral. I argue that employing a phenomenological approach to technology grants us a fresh perspective on the instrumentalism-determinism debate. It enables us to recast the instrumentalist/determinist debate as a debate between technological idealism and materialism, and to ground the instrumentalist and determinist positions in different experiential relations to technology. It also gives us a better grasp of the function of the different critiques of technology, with idealists concerned primarily with the misapplication of technology as a form of knowledge, and materialists with the existential implications of concrete technological relations. (shrink)

Old age and visions of the future are inherently bound with one another, and the realms of dystopian fiction provide scope for a gerontological focus within contemporary literature. A theme that is now being revisited in speculative fiction, this paper aims to assess the role of the elderly within Margaret Atwood's dystopian tales, specifically looking at the role of gerontology in her collection of short stories Stone Mattress: Nine Wicked Tales (2014). I argue that Atwood utilises the dystopian narrative in (...) order to address broader social issues that stem from immobility and declining virility. Focussing on Atwood's feminist politics and representations of the elderly woman in the dystopian narrative, this paper proposes that older women in Atwood's fiction seek to move beyond the asexual, immobile and matronly gerontological stereotype that is often portrayed in literature. Instead, the elderly, and in particular elder women, adapt to their environment, often becoming figures of their community. They are aware of sexual desires and look to move within and beyond societal constraints, utilising the realms of cyberspace in order to forge their own identity. The role of the elderly in a distinctly dystopian narrative allows for a new Utopian strategy to be constructed. (shrink)

In recent years, the metaverse—some form of immersive digital extension of the physical world—has received much attention. As tech companies present their bold visions, scientists and scholars have also turned to metaverse issues, from technological challenges via societal implications to profound philosophical questions. This article contributes to this growing literature by identifying the possibilities of two dystopian metaverse scenarios, namely one based on the _experience machine_ and one based on _demoktesis_—two concepts from Nozick (_Anarchy_, _State_, _and Utopia_, Basic Books, 1974). (...) These dystopian scenarios are introduced, and the potential for a metaverse to evolve into either of them is explained. The article is concluded with an argument for why the two dystopian scenarios are not strongly wedded to any particular theory of ethics or political philosophy, but constitute a more general contribution. (shrink)

Old age often brings with it chronic conditions that make it difficult to handle the activities of daily life. In the United States, unpaid family caregivers, predominantly women, provide most of this care. I explore why this situation has come about and persists and further ground my image of a dystopian future in neoliberalism, the policymaking process, and contemporary politics. I then offer an ethical and policy foundation for an alternative approach to providing needed long-term care services and make provisional (...) suggestions for actions that ought to be taken now and in the near future to avoid this dystopian future. (shrink)

The postphenomenological framework of concepts—and especially the version utilized by the founder of this school of thought, Don Ihde—has proven useful for puncturing others’ totalizing or otherwise overgeneralizing claims about technology. However, does this specialization in deflating hype leave this perspective unable to identify the kinds of technological patterns necessary for contributing to activist interventions and political critique? Put differently, the postphenomenological perspective is committed to the study of concrete human-technology relations, and it eschews essentialist and fundamentalizing accounts of (...) technology. Do these commitments render it incapable of providing general assessments of our contemporary technological situation? It is my contention that this perspective can indeed be useful for these kinds of critical projects. To do so, we must go beyond Ihde’s personal tendency to utilize postphenomenology mostly for deflating others’ hype, and explore this perspective’s distinctive potential for identifying ways that technologies can become set within problematic patterns of usage and design. My suggestion is that the postphenomenological notion of “multistability” can play a helpful role in these efforts, especially when combined with a conception of local, rather than totalizing, stabilizations of human-technology relationships. (shrink)

Long before Prospect Theory and Loss Aversion Theory, Thomas Hobbes’s account of self-interest and risk assessment formed the basis of a powerful argument for the benefits of negative appeals. Dismissing the pursuit of highest and final goods as inherently incapable of yielding collective action, Hobbes proposed a method focusing instead on the highest evil, something that individuals with different goals could agree on as a barrier to their respective pursuits. In his own theory, that evil was violent death in the (...) dystopian setting of his notorious state of nature. The staying power of Hobbes’s memorable image itself validates Hobbes’s rationale and offers important reminders regarding the limits of utopian appeals to collective action. (shrink)

The principal aim of my essay is to provide a selective description and positive evaluation of the development of Andrei Platonov's views in the 20th century from utopian communism through disillusioned cynicism to what I will call humanistic communalism. Now considered in Russia as one of its greatest writers, he articulated various highly significant ideas and issues – primarily philosophical but also political and psychological – concerning the viability of living within an indifferent, non-moral universe, an unprogressive, indeed oppressive, (...) sociopolitical system, and a recurrently tragic, ineluctably contingent life-world. As a result of this not uncommon intellectual and existential journey, Platonov mapped out a way of hopeful, enriching living based upon creative activity and upon communal relationships—for example, of friendship and love, supplemented by a resolute combination of patience and endurance. (shrink)

Utopianism has found expression in several ways throughout history and has reflected the peculiarities of the cultural, political, social, and economic settings in which it has come about. Spain in the nineteenth and twentieth centuries has been no exception, because while the country has not occupied a significant place in the dominant historical narrative of utopias, recent research has begun to show that it was indeed where many tracts with utopian—and, by way of correlation, dystopian—content came on the scene. (...) Whether we look at the concept of utopia from a formal standpoint, in the sense of a specific literary genre, or we demand certain content features to discuss true utopias, we find that they thrived in.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. 147 Eric Andrew James The Representational Necropolitics of Black Women in Zombie Dystopia Video Games Though Stuart Hall defends popular representation as an important terrain of political struggle, he also argues that images of difference are dominated by “racialized regimes of representation” manifest in stereotypes and invisibilities.1 These ensure that marginal identities are reduced, essentialized, and rendered (...) other. One of the most powerful tools for this form of silencing in the popular representation repertoire is the notion of an established genre. In US popular culture, creators and critics alike often position people who experience multiple layers of oppression as constitutively outside the expectations of existing genres. Their absence is attributable not simply to creator racism but also to that genre’s relationships to intersecting categories of difference and domination, such as race and gender. Beginning with the preponderance of representational violence in popular media, this article draws from existing work by feminists of color in order to model a critique of US representational precarity. To illustrate the political tensions in popular US culture, I stage my intervention into a medium whose industry has had particularly fraught struggles with representation: video gaming. There, I focus specifically on 1. Stuart Hall, “The Spectacle of the Other,” in Discourse Theory and Practice: A Reader, ed. Margaret Wetherell, Stephanie Taylor, and Simeon J. Yates. (London: Sage, 2001), 325–44. 148 Eric Andrew James recent attempts to represent Black women, whom the gaming industry has held up as emblematic of difference and diversity. 2 These attempts are marred by predictable disasters and pitfalls. In particular, I discuss how the representational politics of Black women in popular zombie dystopia games repeats a similar violence as the previous silencing of Black women in these spaces. The gaming industry’s struggles with representation in the wake of Gamergate are demonstrative of broader tensions in Black women’s representation in popular media. Thus, while I am focused on video games, I also intend this analysis to reflect on feminist studies of the relationship between genre and representation. I advance existing scholarship on video game representations of Blackness by theorizing violence enacted at the intersections of race, gender, and sexuality in game genres. Specifically, I position this intervention as a point of departure from TreaAndrea M. Russworm’s chapter in Gaming Representation: “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us.”3 This chapter provides a compelling critique of the relationship between the dystopian game genre and Black representation, highlighting the lack of self-reflexivity in mass-market representations of Blackness. Expanding this project by taking another look at her objects of study—The Last of Us (2013– 2014) and Telltale’s The Walking Dead (2012)—I argue that taking Black women’s multiple jeopardy as foundational to the zombie dystopia genre offers a deeper look at the grammars of representational violence. My use of multiple jeopardy refers to Deborah K. King’s theorization of how multiple layers of oppression exponentially multiply individual disadvantages. As King describes, “The modifier ‘multiple’ refers not only to several, simultaneous oppressions but to the multiplicative 2. AnnaMaria Jackson-Phelps, “Representation Matters: Positive Portrayals of Black Women in Video Games,” Medium, February 28, 2017, https:// medium.com/legendary-women/representation-matters-positive-portrayals -of-black-women-in-video-games-c96cf9f66fdf; Jef Rouner, “Would You Believe There Have Been Only 14 Playable Black Women in Gaming?” Houston Press, June 5, 2015, https://www.houstonpress.com/arts/would-you-believethere -have-been-only-14-playable-black-women-in-gaming-7484017. 3. TreaAndrea M. Russworm, “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us,” Gaming Representation: Race, Gender, and Sexuality in Video Games, ed. Jennifer Malkowski and TreaAndrea M. Russworm (Bloomington: Indiana University Press, 2017), 109–28. Eric Andrew James 149 relationships among them as well.”4 These layers of oppression are often contradictory and may leave no avenues for action; the expectations placed on one for their race become impossible to fulfill because of the contradictory expectations placed on them for their gender or sexuality. This multiple jeopardy thus introduces... (shrink)

Bryan Caplan’s Myth of the Rational Voter is deeply ideological and conceptually confused. His book is shaped by pro‐market and pro‐expert biases and anti‐democratic attitudes, leading to one‐sided and conclusion‐driven arguments. His notion that voters are rationally irrational when they hold anti‐market and anti‐trade beliefs is incoherent, as is his idea that sociotropic voting can be explained as the rational purchase of a good self‐image.

The political, economic and environmental policies of a hegemonic, oligarchic, political-economic international caste are the origin and cause of the ecological and political dystopia that we are living in. An utilitarian, resourcist, anthropocentric perspective guides classical economics and sustainable development models, allowing the enrichment of a tiny part of the world's population, while not impeding but, on the contrary, directly inducing economic losses and environmental destruction for the many. To preserve the integrity of natural systems we must (...) abandon the resourcist anthropocentric ethical fiction that is the current moral foundation underlying our relationship with nature and instead promote the realization of a new developmental landmark for democratic institutions: direct democracy, i.e. democracy truly governed by the people for the people, and ultimately for nature as well. (shrink)

Through an analysis of Suzanne Collins’ The Hunger Games trilogy (2008, 2009, 2010), this text will consider the ways in which contemporary postfeminism can be read as a dystopic narrative. The protagonist of the novel (and the rest of the trilogy) is Katniss Everdeen, a young woman who through an ethics of care, disruption of the heteronormative script, and a critical posthuman embodiment offers an alternative to the dystopic present offered by postfeminism. In Katniss’ dystopian world, Collins constructs a narrative (...) that highlights the continued need for a feminist politics of engagement and activism that works against claims for neo-liberal individualism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Epistemological Warfare and Hope in Critical Dystopia by Emrah AtasoyClaire P. CurtisEmrah Atasoy. Epistemological Warfare and Hope in Critical Dystopia. Ankara: Nobel Bilimsel Eserler, 2021. vii+ 167 pp. ISBN: 978-625-7589-04-8This book is an application of the idea of critical dystopia to three understudied novels and the beginning of an argument about utopian desire itself. Emrah Atasoy, a prolific author who reviewed Turkish speculative fiction in a well-received 2021 (...) Utopian Studies article, is modeling a search for hope in dystopian texts. In this book, derived from his dissertation, he examines three British novels written in three different eras of the twentieth century: Katherine Burdekin's Swastika Night (1937), Anthony Burgess's The Wanting Seed (1962), and P. D. James's The Children of Men (1992). In each novel, Atasoy argues, the protagonists move from an ignorance that served the interest of the dystopian forces to a resistant knowledge that should be read as offering hope, both as resistance and as knowledge.The book is organized in a straightforward way, with an introduction, conclusion, and then three analytical chapters, one for each of the novels. The introduction is expansive, offering both brief surveys of the nature of utopia and dystopia and a recounting of a number of themes taken up by dystopian texts: education, politics, gender roles, family life, and more. Layered onto this is a discussion of theorizing around knowledge and power and the transition from ignorance to understanding. The chapters focused on the individual novels are all similarly expansive. Atasoy offers biographical information about the authors along with considerations of the primary social and political events to which the authors might be responding. The analyses of the novels focus primarily on the motivations of the protagonists, but interspersed in the plot summaries are narrative cul-de-sacs explaining particular textual details (for example, the discussion of Theo's choice of the Greek statue of Diadoumenos as allocation to leave a note for the Warden [James, 37]). These [End Page 519] little detours are often interesting but can be distracting from the primary analytic focus.The analyses themselves also cover a lot of territory. The middle section of the chapter on The Children of Men (118–34) includes discussions of power, eugenics, religion, sexuality, punishment, assisted suicide, and immigration. Each of these is used to elucidate modes of social and political control wielded by the Warden, but the sheer number of issues included in the fast-moving analysis left me wanting more. Atasoy's analysis of Quietus nicely captures the ways in which James has created a world where the elderly are both encouraged and manipulated to end their lives for the good of the whole. This discussion fits especially well with the larger focus of his analysis on modes of social engineering. Fewer themes and more close readings like this one would have deepened the reading experience. But for anyone beginning a project on one of these novels, this book is a good place to start.This book begins and ends with the interesting contention that times of catastrophe diminish the literary production of utopia, and potentially the capacity for hope itself. While the point of this book is not to defend this claim empirically, it is one worth considering for any scholar of utopia, or any person interested in the potential of future change for the better. The book may underplay the fact of twentieth-century literary utopias (there is a brief discussion of the feminist utopias written in the 1970s and 1980s), but it is surely correct that there is an imbalance in the production of utopia in favor of dystopia. Utopias are more challenging to construct and potentially (especially in this day and time) less formulaic than dystopia, which is an increasingly popular (and marketable) genre.Kim Stanley Robinson noted in a recent interview that "[utopias] shape people's conception of what's possible that could be good in the future."1 Atasoy's book offers the possibility that a close reading of dystopian texts might well help us uncover other ways of finding out what future good is possible. By extolling the value of finding the... (shrink)

Short Stories and Political Philosophy: Power, Prose, and Persuasion explores the relationship between fictional short stories and the classic works of political philosophy. This edited volume addresses the innovative ways that short stories grapple with the same complex political and moral questions, concerns, and problems studied in the fields of political philosophy and ethics. The volume is designed to highlight the ways in which short stories may be used as an access point for the challenging works (...) of political philosophy encountered in higher education. Each chapter analyzes a single story through the lens of thinkers ranging from Plato and Aristotle to Max Weber and Hannah Arendt. The contributors to this volume do not adhere to a single theme or intellectual tradition. Rather, this volume is a celebration of the intellectual and literary diversity available to students and teachers of political philosophy. It is a resource for scholars as well as educators who seek to incorporate short stories into their teaching practice. (shrink)

This essay argues that a restatement of Thomistic natural law reasoning is increasingly necessary in jurisprudential debate about international law. Mindful of Pope John Paul II's call for a renewal of international law, the essay engages with the present-day tension between Morgenthau-type realism and neo-Kantian discourse-oriented cosmopolitanism. The essay addresses whether the former is sufficiently realistic in our global 21st century context, and whether the latter is adequately cosmopolitan. Attention is drawn to Aquinas's understanding of the relation between custom, consent (...) and political authority in order to expose some of the limits of present-day statism, and to suggest that Thomistic natural law reasoning is, potentially at least, better able to cope with the intractable disagreement that characterises 21st century global relations than some forms of neo-Kantian jurisprudence. (shrink)

This essay is comprised of two unusual pairings—Immanuel Wallerstein with Michael Hardt and Antonio Negri; and Don DeLillo with William Gibson—and a thesis: We live, today, in a period of transition between modernity and postmodernity that is best characterized as what I call hyper-capitalism. The end of modernity, as described both by Wallerstein’s world-systems theory and by the “postmodern” political philosophy of the authors of Empire, does not lead us into postmodernity proper, but into a period of geopolitical chaos. (...) This chaos may be best understood, not only by closing the gap between these variegated social theorists, but also via the dystopic cyberpunk fiction of DeLillo’s Cosmopolis and Gibson’s Pattern Recognition. (shrink)

There is an obvious distinction between the philosophical meditation on politics and relevance to politics, on the one hand, and the political engagement of philosophers and even philosophy, on the other. At this late date, there can be few people interested in philosophy, and even many uninterested in this ancient discipline, unaware that Martin Heidegger turned to Nazism in the 1930s. Heidegger, who all his life subscribed to the Platonic view of the priority of philosophy over politics, later described (...) his own political turning as “die grösste Dummheit,” in short as an error. This paper will consider recent discussion of this instance of “stupidity,” with special attention to three books: Julian Young, Heidegger, philosophy, Nazism; Miguel de Beistegui, Heidegger and the Political: Dystopias; and Johannes Fritsche, Historical Destiny and National Socialism in Heidegger’s Being and Time. (shrink)

Billy Wilder's classic film ‘Some Like It Hot’ prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler introduced this in Gender Trouble, demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by drag. Later in Bodies that Matter she argues that drag in ‘Some Like It Hot’ does not denaturalize heterosexuality, but rather fortifies it. What then for Butler divides denaturalizing drag (...) from non-denaturalizing drag? Butler locates denaturalizing drag in the film ‘Female Trouble’, where Divine's drag-queen persona satirizes gender in a hyperbolic performance. However, Butler misconstrues the cross-dressing performances in ‘Some Like It Hot’ as drag, which are better understood as instances of theatrical disguise. Narrative analysis reveals that all the characters in ‘Some Like It Hot’ function within a dystopian critique of heteronormativity. Because the film takes a performative view of sex, gender and sexuality, it can validate three queer couples who defy the strictures of heterosexual romance. Butler thus overlooks a discourse of critique and destabilization alternative to gay perspectives. Current developments in sexual politics, broadly conceived, track both Butlerian concepts of performativity and dystopian critiques of heteronormativity. (shrink)

The brain in its plasticity and inherent 'sociality' can be proclaimed and projected as a revolutionary organ. Far from the old reactions which opposed the authenticity of political theory and praxis to the dangerous naturalism of 'cognitive science' (with images of men in white coats, the RAND Corporation or military LSD experiments), recent decades have shown us some of the potentiality of the social brain (Vygotsky, and more recently Negri 1995 and Negri 2000, Virno 2001). Is the brain somehow (...) inherently a utopian topos? If in some earlier papers I sought to defend naturalism against these reactions, here I consider a new challenge: the recently emerged disciplines of neuronormativity, which seek in their own way to overcome the nature-normativity divide. This is the task of a materialist brain theory today. 1. The setup: horns of a dilemma There is a lingering zone of what one might think of as sore cognitive muscle tissue in the area of materialism. It is an area of both contested territory and in some cases, a kind of pathos of distance of the 'Ugh! Keep that thing away from me!' sort. I have in mind the combination of materialism as an emancipatory socio-political project (which need not be construed in strictly Marx-Engels terms, if we think of Lucretius et al.) and as a cold-hearted 'spontaneous philosophy of the men in white coats', e.g. nefarious neurophilosophers. Faced with this rather massive alternative, this choice between two projects, I have stubbornly been saying since some discussions with Negri in the late 90s. (shrink)

This review essay contrasts two of the most notable recent contributions to literature on space and society: Daniel Deudney's Dark Skies (2020) and Brian Patrick Green's Space Ethics (2022). The Green volume is a course textbook, geared to giving students an overview of some of the key ethical issues concerning space and how the arguments on these matters are shaping up. Its aim is to provide an overview rather than a specific line of argument. Deudney's text, by contrast, is an (...) example of a book proposing space skepticism. It argues that we should relinquish many of our current ambitions for space expansion on the grounds that they will increase the already significant degree of extinction-level risk that we face. The essay marks the distinction between these texts by contrasting normal- and special-domain approaches. Normal-domain approaches seek to extend familiar ethico-political issues into the discussion about space expansion without regarding space expansion as the road to utopia or extinction. Special-domain approaches hold to some such optimistic or pessimistic view. The essay goes on to highlight the way in which Green's text would benefit from more social critique, along the lines of Deudney. Ultimately, the normal-domain approach presupposed by Green and rejected by Deudney is upheld. (shrink)

With the advent of the 21st century, the way characters and identities interact under the influence of dominant powers has brought a new world into existence, a world dubbed by Manuel Castells as the ‘Fourth World’. Within the Castellsian theoretical matrix of the Fourth World and politics of identity, the present study seeks to investigate the true nature of the futuristic world Margaret Atwood has created in the MaddAddam trilogy. The trilogy literarily reflects a global crisis that ultimately leads to (...) dystopia and the destruction of the human race: what remains of humanity is a small group of survivors who must struggle to conserve what remains of humanity. Identity as the main determining factor in the Fourth World represents personal and public privileges, characteristics, and means of differentiating oneself from others. The Fourth World and its political peculiarities reflect contemporary powers, i.e. the power of the network society, network communication and media. Humankind, in this wheel, is just a toy in the hands of an intelligence broker. What exactly happens to human and semi-human characters in Atwood’s trilogy is the result of Fourth World structures and values, and how they shape and reconstruct identities to lead the world toward fabricated truths and values, and terminate in dystopia. (shrink)

In Survive and Resist: The Definitive Guide to Dystopian Politics Shauna L. Shames and Amy L. Atchison aim to give the readers an insight into various key concepts in political science by analyzing some of the world's most famous dystopian fictional works. Among them are George Orwell's 1984, Margaret Atwood's The Handmaid's Tale, but also more recent novels such as Scott Westerfield's 2005 Uglies Trilogy. In separate chapters, the authors draw on a wide array of concepts in political (...) philosophy to confront real-life and fictional dystopias. The book makes for an excellent introduction to political theory that is highly approachable to dilettantes.The book consists of eight chapters, a preface, an introduction, an... (shrink)

ABSTRACT This article discusses the politics of hope in N. K. Jemisin’s Broken Earth trilogy. Drawing on scholarship in utopian studies, science fiction studies, and Africana studies, it discusses the ways in which Jemisin uses two intentional community experiments depicted in the trilogy as “critical utopias” in order to work through problems involved in collective living, including the potentially anti-utopian aspects of these communities’ shortcomings. Ultimately, despite the apocalyptic setting that has attracted the most attention from critics, this article argues (...) that The Broken Earth ultimately affirms the necessity of utopian hope, even amid anti-utopian circumstances, and as such is an important and timely political statement. In a historical moment marked by social and racial strife and, in the literary realm, by what Sean Guynes calls “dystopia fatigue,” Jemisin’s trilogy does not promise utopia, but insists on the need for hope in seemingly hopeless times, the “anti-anti-utopian” orientation described by Fredric Jameson. (shrink)

The modern tendency to treat all Greek Golden Age textuality as apolitical and escapist has contributed to the ongoing neglect of the first Western educational text, Hesiod's Works and days. Most commentators have missed the interplay of utopian and dystopian images in Hesiodic poetry for lack of the appropriate conceptual framework. Once the escapist prejudice is overcome, the Hesiodic text appears as the first extant Occidental coupling of political utopianism with emancipatory ethico-political education. Once freed of its dated (...) metaphysical-theological resonances, Hesiodic utopianism is compatible with a renewed political and ethical education for cosmopolitanism and justice because the embarrassingly detailed and teleological element of temporal modern utopias and the equally embarrassing rigid architecture of spatial utopias are absent. There is no strict utopian prediction and the message for change is articulated for the whole of humanity. (shrink)

Between Nightmare and Reality: Dystopian Reflections on the Contemporary Society Resum: Per mitjà de la narració de fantasia i de ciència ficció, la utopia i la distopia promouen una anàlisi crítica de la realitat. En particular, la distopia ens alerta de les possibles conseqüències catastròfiques derivades de problemes sociopolítics existents i contribueix a la reflexió constructiva sobre les amenaces antidemocràtiques que posen en perill la nostra societat. Aquest article examina la representació de l’autoritat, la coacció, la propaganda, la plasmació, l’espai (...) i el llenguatge en distopies sociopolítiques seleccionades i reconegudes, com Nosaltres de Zamiatin, Un món feliç de Huxley, La nit de l’esvàstica de Burdekin, 1984 d’Orwell i El conte de la serventa de Atwood, i compara aquestes ficcions amb esdeveniments històrics i contemporanis, amb l'esperança d’il·luminar la manera real en què el poder opera sobre els cossos i les ments en sistemes tant repressius com liberals.: Through fantasy and science fiction storytelling, utopia and dystopia promote a critical analysis of reality. In particular, dystopia warns against the possible nightmarish consequences of factual socio-political issues, as well as it fosters a constructive and thought-provoking reflection on the undemocratic threats that jeopardize our society. This article examines the representation of authority, coercion, propaganda, embodiment, space, and language in selected and renowned socio-political dystopias, including Zamyatin’s We, Huxley’s Brave New World, Burdekin’s Swastika Night, Orwell’s 1984, and Atwood’s The Handmaid’s Tale, and it subsequently compares these fictional depictions with historical and contemporary events, hoping to shed light on the real way that power operates on bodies and minds both in repressive and liberal systems. Paraules clau: distopia, utopia, control, violència, realització Keywords: Dystopia, Utopia, Control, Violence, Embodiment. (shrink)

Margaret Atwood’s The Handmaid’s Tale has predominantly been read as a critique of patriarchy, a feminist dystopia. This article amends the feminist analysis by applying a biocultural approach to the novel, taking as its point of departure three problems that have troubled the feminist reading: Offred’s perceived passivity, the novel’s subtly critical stance towards its feminist characters, and the open ending. By taking into account the environmental context-a fertility crisis-the biocultural reading is able to analyze char­acter in terms of survival (...) and reproductive strategies. Recognizing that the characters are negotiating male and female mating strategies under extreme conditions leads to a deeper comprehension of the way the contrasting philosophies of radical feminism and sociobi­ology inform sexual politics in the Republic of Gilead. (shrink)

This article develops a hermeneutic framework for analyzing the representation of imminent future threats. The framework will be derived from the later works of Paul Ricoeur, in which he employs the concept of 'imagination' rather than 'fantasy' (both originating from the Greek term phantasia). Ricoeur posits the significance of what shall be referred to as 'the site of initiative'. It is within this site of initiative that two types of events converge: events that happen to us and events that we (...) make happen. Furthermore, the site of initiative is constituted between two orders of imagination: the space of experience (reproductive) and the horizon of expectation (productive). To enhance the framework's relevance for political and social theory, it will be extended to incorporate Ricoeur's analysis of ideology and utopia. This extension facilitates a preliminary analysis of contemporary dystopias in which fears are exploited for political gain. It will be argued that these dystopias have the tendency to spur a society into arbitrary and unwarranted actions that eclipse the site of initiative. (shrink)

Resumen Hace 78 años, en “Un Mundo Feliz”, el escritor Aldous Huxley, en un prodigioso tono satírico, se anticipó con asombrosa precisión a los grandes temas de la agenda científica y política del Siglo XXI: la reproducción controlada, el choque de civilizaciones y la clonación humana, entre otros. Hace unos días, a mediados de mayo de 2010, el J. Craig Venter Institute anunció que había producido la primera célula sin historia genética creada en un laboratorio a partir de un genoma (...) sintetizado químicamente. Hoy, describiendo el estado “posthumano” de la historia, Francis Fukuyama afirma: “Huxley tenía razón”. Palabras clave: bioética; ingeniería genética; democracia; totalitarismo; biotécnica; eugenesia ;utopías; distopias. Huxley’s Prophecy and the Biotech Century: Post-human society is reaching usSeventy-eight years ago, in “A Happy World”, the writer Aldous Huxley, in a prodigious satiric tone, anticipated with astonishing accurateness the big topics of the XXI Century’s scientific and political agenda: controlled reproduction, civilization clash and human cloning, among others. Some days ago, in mid-May 2010, the J. Craig Venter Institute announced that it had produced the first genetic history free cell created in a laboratory from a chemically synthesized genome. Today, in describing the “post-human” state of history, Francis Fukuyama asserts: “Huxley was right”. Keywords: Bioethics;Genetic Engineering; Democracy; Totalitarianism; Biotechnology;Eugenics ; Utopias; Dystopias. (shrink)

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism (...) and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (shrink)

Dystopias matter because they make us think. They help us to imagine and envisage how the present can change into something very nasty. … Dystopias thus interrogate the now and offer warnings and sometimes prophecies about the future; they are often the jeremiads of utopianism. But sometimes they offer glimmers of hope.One way of being anti-anti-utopian is to be utopian. It's crucial to keep imagining that things could get better, and furthermore to imagine how they might get better. (...) … So by force of will or the sheer default of emergency we make ourselves have utopian thoughts and ideas. This is the necessary next step following the dystopian moment, without which dystopia is stuck at a level of political quietism... (shrink)

Alien and its sequel Aliens pit small groups of humans against a foe that knows only violence. Actually, much of what goes wrong in these films is due to confused beliefs the characters hold. This chapter uses the approach of an American philosophical school of thought known as pragmatism, and its foremost defender John Dewey, to critically address this problem. Through Alien and Aliens, we can apply pragmatism to political philosophy, and in particular we can see how John Dewey's (...) philosophy in The Public and Its Problems serves to illustrate the social and political failings we viscerally experience in these films. The Alien universe, with its diabolical pact between the United Americas and the Weyland‐Yutani Corporation, provides us with a worst‐case scenario of the future. The Xenomorph is not the big bad enemy of the first two Alien movies. The enemy is our own ineffectual political forms. (shrink)