In fourth-century Greece, the debate over the nature of philosophy generated a novel claim: that the highest form of wisdom is theoria, the rational 'vision' of metaphysical truths. This 2004 book offers an original analysis of the construction of 'theoretical' philosophy in fourth-century Greece. In the effort to conceptualise and legitimise theoretical philosophy, the philosophers turned to a venerable cultural practice: theoria. In this practice, an individual journeyed abroad as an official witness of sacralized spectacles. This book examines the philosophic (...) appropriation and transformation of theoria, and analyses the competing conceptions of theoretical wisdom in fourth-century philosophy. By tracing the link between traditional and philosophic theoria, this book locates the creation of theoretical philosophy in its historical context, analysing theoria as a cultural and an intellectual practice. It develops a new, interdisciplinary approach, drawing on philosophy, history and literary studies. (shrink)

This text is not merely a study of pedagogy but an intervention in pedagogy as spectacle. Structured in seven scenes, it examines how education in the digital age becomes a performance of visibility, an algorithmic rhythm, and a commodified production of knowledge. Drawing on critical theory, poststructuralist thought, and radical pedagogy, it refuses conventional academic form through fragmentation, rhythmic rupture, and narrative interruption. The text reveals how the student is shaped into a marketable subject, how critique is aestheticized into consumable (...) content, and how the classroom functions as the stage of algorithmic flows. Each scene—from the commodified image of Freire to the pornographization of knowledge—produces opacity and resistance against smooth circulation. The central claim is radical: authentic pedagogical resistance lies not in teaching, performing, or concluding, but in silence, delay, and withdrawal as deliberate acts of opposition. (shrink)

This paper aims to examine the nature of the situationist concept of spectacle, especially by separating it into its philosophical elements, in order to check the effectiveness, from a systematic point of view, of situationism’s radical critique. In doing so, the main focus of our attention will be Debord’s major theoretical work: Society of the Spectacle. In fact, the concept of spectacle, repeatedly evoked in other writings, has its most far-reaching version in that small but great book, whose first edition (...) was published in 1967. (shrink)

Considering formative twentieth-century theories in relation to contemporary technosocial developments, this article examines ideas of spectacle and surveillance as ways of approaching visual politics. I argue that the historically important relationship between the visual and political fields is now intensifying and mutating. First discussing Guy Debord’s The Society of the Spectacle, I show how his influential approach proves inadequate to the politics of image-saturated societies. I next show how critics of imperial and racial spectacles, from Michael Rogin to Claudia Rankine (...) and Tina Campt, provide better ways of engaging power and political contestation in the visual field. Third, I examine how Michel Foucault deployed notions of spectacle in his own work but argued for leaving the term behind, presenting surveillance as not just a different modality of power but also spectacle’s temporal successor. This account remains essential for both historical understanding and reckoning with contemporary surveillance. Fourth, however, as Simone Browne argues, Foucault’s separation between spectacle and surveillance is too stark, his history too prone to occlude race. Furthermore, recent surveillance technologies and practices have changed in ways that confound his terms, while extending and also altering the racial dynamics explored earlier in the essay. Today, even surveillance based on optical media contributes to a “postvisual” image world in which algorithmic, machine-machine communication abets forms of power neither tied to human perception nor graspable as subject formation. With surprising assistance from Debord, I end by discussing the significant theoretical and political challenges posed by the ironies of postvisual visuality. (shrink)

Joan Scott’s ‘fantasy echo’ is deployed to analyse the trope of the mother/daughter relationship in contemporary laments about feminism’s failures, exemplified by Susan Faludi’s ‘American Electra: Feminism’s Ritual Matricide’ (2010). I demonstrate that Faludi’s primary argument – that young feminists do not respect the generations that precede them and therefore halt feminist progress – unreflectively relies upon a feminist maternal fantasy and ignores the prominent role spectacle culture plays in the circumscription of contemporary feminism. Building upon Scott’s attention to literature (...) to interrupt fantasy echoes and their inert visions of how feminism should appear, the article interprets The Portrait of a Lady (1908) through the tools of Scott’s historiography. I argue that Henry James’s novel, focused on an American ‘New Woman’, is an early account of how young women are sold fantasies of feminist freedom through spectacle culture and troubles the assumption that older women only forge benevolent relationships with younger women out of generosity. (shrink)

The aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord's practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore (...) these two interpretations, this article uses Guy Debord's 1973 film The Society of the Spectacle as a case study. By focusing on this specific object, the two interpretations of the cinematic interval make it possible to compare two alternative ways of dealing with the representability – or unrepresentability – of capital, and hence to sketch two alternative views on the politics of found footage film practices. (shrink)

The letter sent by the Royal Society to the London optician, John Marshall, in 1694, commending his new method of grinding, has been reprinted, and referred to, in recent years. However, there has been no comprehensive analysis of the method itself, the letter and the circumstances in which it was written, nor the consequences for trade practices. The significance of the approval by the Royal Society of this innovation and the use of that approbation by John Marshall and other practitioners (...) are examined. Gaps in existing accounts of Marshall's method are partly remedied by supplementing surviving written materials with accounts of contemporary, and present-day, trade practices based on his method. The reasons why Marshall and his contemporaries failed to record his method and specify his improvements are discussed. The reactions of the Spectacle Makers' Company and its more prominent members, both to the innovation itself and to the Royal Society's letter, are analysed. The impact of the new technique on contemporary and later opticians is described. (shrink)

ABSTRACT The history of spectacle terror lynching remains one of the darkest and least explored political events in American history. In this article, I explore the aesthetic relation of this history to the formation of notions of public action and political assembly. I argue that the history of spectacle terror lynching establishes both a past and present form of public sovereignty. As such, I attempt to examine questions of what public action means with regard to a political context of antiblack (...) violence. I conclude that lynching festivals constitute not only a form of politics but a form of public sovereignty that is still in play in our notion of the public. At heart this notion informs not only antiblack forms of racism but antiblack forms of genocide. (shrink)

Drawing from the philosophies of pragmatism and somaesthetics, as developed by Richard Shusterman, this inquiry argues that performance holds a unique ontological status, one that emphasizes participation, shared meaning making, and the aesthetic qualities of ordinary, lived experience. As a philosopher trained as a dancer, I share some insights from my own experience as a performer offering a first-person aesthetic experience as a tool for conceptual inquiry. This experience allows the inquiry to explore the distinction between “scene” and “spectacle”, positioning (...) the scene as a space of co-creation, in contrast to the distant, objectifying gaze encouraged by spectacle. By examining participatory projects and firsthand artistic experiences, I try to illustrate how performance can dissolve the boundaries between art and life, proposing a model of art that is shared, embodied, deeply connected to the rhythms of the everyday and gives foundation to a political transformation. (shrink)

The 2000 U.S. presidential election was one of the most bizarre and fateful in American history. Described in books as a “deadlock,” “thriller,” “the perfect tie,” and even, by myself, as “Grand Theft 2000,” studies of the election have dissected its anomalies and scandals and have attempted to describe and explain what actually happened. In this chapter, I will apply an intersection of critical social theory and cultural studies to analyze and critique the major representations, narratives, themes, images, and spectacles (...) in the 2000 U.S. election. (shrink)

ArgumentI argue through an analysis of spectacle that the relationship between wildlife documentary films’ entertainment and educational mandates is complex and co-constitutive. Accuracy-based criticism of wildlife films reveals assumptions of a deficit model of science communication and positions spectacle as an external commercial pressure influencing the genre. Using thePlanet Earth(2006) series as a case study, I describe spectacle's prominence within the recent blue-chip renaissance in wildlife film, resulting from technological innovations and twenty-first-century consumer and broadcast market contexts. I connect spectacle (...) in contemporary wildlife films to its relevant precursors within natural history, situating spectacle as a central feature of natural history display designed to inspire awe and wonder in audiences. I show that contemporary documentary spectacle is best understood as an opportunity for affective knowing rather than a constraint on accuracy; as a result, spectacle contributes to the virtuous inter-reinforcement of entertainment and education at work in blue-chip wildlife films. (shrink)

The global COVID-19 pandemic that started in 2020 coincided with another incident that made global news, namely the release of the video of the killing of George Floyd by Minneapolis police in the United States. While the novelty of the pandemic wore off relatively quickly when things “went back to normal”, the death of George Floyd inspired a radical global movement relating to the treatment of black people (by both police and civilians) worldwide, namely the “Black Lives Matter” (BLM) movement. (...) The force of the 2020 BLM movement arguably resulted in greater social activism relating to the treatment of minorities in the US and UK in a matter of a few weeks than the almost unfathomable number of deaths from COVID-19. The aim of this article is to critically analyse this particular phenomenon through the lens of so-called “memory culture”, and specifically the role of spectacle in digital mnemotechnologies in circulating videos, images and appeals to empathetic engagement with the collective memories of violence against black minorities in the West. This trend supports the argument that will be made, namely that we live in a memory culture which has become obsessed with the fetishisation of the spectacle in order to induce the collective imagination, leading towards empathy for different groups. This provides a perspective on how the notion of the spectacle seems to be more effective in our contemporary memory culture at garnering sociopolitical action than appeals to scientific reason, or even just narratives unaccompanied by shocking videos or images. (shrink)

In this paper, the author establishes and defends the thesis that the 1980s horror film production acts as a paradigm of the spectacle, especially in terms of the system of reduction of immediate life to image related mediations and phenomena. Thus, three disparate elements are now connected in a conceptual framework by which author supposes one must judge the media theory and media at large at the end of the twentieth and the beginning of the twenty-first century. The three elements (...) are the Heideggerian notion of the age of the world-picture, the Debordian notion of the spectacle, and the Deleuzian experiment of the philosophy of film that, through Beller, establishes itself as a film philosophy, to be a possible answer to the contemporary state of a society in which the film spectacle reflects itself in the essentially cinematic culture, that is, in society put in motion exclusively only through the relation of image representations. (shrink)

This chapter examines two cases in which spectacles have been deployed in order to generate and sustain ideas regarding identities through the spectacular strategy of bricolage. In both cases, existing practices and ideas are woven into spectacles intended to promote identity. In the case of the comic book figure Wonder Woman, the foundations of her character are shown to be rooted in nineteenth-century American feminism and the suffragette movement, which themselves emerged from utopian novels. These strains are then introduced into (...) the emerging popular cultural milieu of comic books, allowing these ideas to reach a wide audience. The second case, that of emerging Russian nationalism, explores the conflicts that have arisen in the development of a post-Soviet Russian identity following the collapse and formal legal liquidation of the Soviet Union. In this case, Ostrovsky (2014) argues persuasively that these new forms of identity are created and circulated within mediated spectacles—especially through television—that benefit Russia’s current ruler, Vladimir Putin. (shrink)

For the first time, Guy Debord's pivotal work Society of the Spectacle appears in a definitive and authoritative English translation. Originally published in France in 1967, Society of the Spectacle offered a set of radically new propositions about the nature of contemporary capitalism and modern culture. At the same time it was one of the most influential theoretical works for a wide range of political and revolutionary practice in the 1960s. Today, Debord's work continues to be in the forefront of (...) debates about the fate of consumer society and the operation of modern social power. In a sweeping revision of Marxist categories, the notion of the spectacle takes the problem of the commodity from the sphere of economics to a point at which the commodity as an image dominates not only economic exchange but the primary communicative and symbolic activity of all modern societies.Guy Debord was one of the most important participants in the activities associated with the Situationist International in the 1960s. Also an artist and filmmaker, he is the author of Memoires and Commentaires sur la société du spectacle. A Swerve Edition, distributed for Zone Books. (shrink)

The September 11, 2001 attacks on the U.S. dramatized the relationship between media spectacles of terror and the strategy of Islamic Jihadism that employs media spectacles to promote its agenda. Yet U.S. administrations have also used spectacles of terror to promote U.S. military power and geopolitical ends, as is evident in the Gulf war of 1990-1991, the Afghanistan war of fall 2001, and the Iraq war of 2003.

This session explored the topic of globalization from a variety of disciplinary perspectives or spectacles. The presenters shared their experiences in a colloquium series at the University of Kansas titled, "Globalization, Ethics, and Culture" and engaged in discussion with other IABS members interested in apprehending the elephant known as globalization. The session included (1) an overview and some background on globalization; (2) descriptions of perspectives adopted by scholars in disciplines such as economics, philosophy, psychology, law, sociology, and ethics! and (3) (...) discussion of the benefits and challenges of developing and engaging in multidisciplinary networks for the strengthening of education, research, and practice relating to globalization. The "blind men and the elephant” metaphor was used to illustrate paradoxical perceptions and realities of globalization. (shrink)

The 2024 U.S. Presidential Campaign between Joe Biden who had secured the Democratic Party nomination and Donald J. Trump who is the Republican Party candidate, and whose Party convention spectacle rite has been one of the more bizarre series of spectacles in U.S. history. President Biden faced no serious opposition for the Democratic Party nomination but faced a devastating set-back in his ambitions to be re-elected during the first Presidential debate of the season on June 27, 2024 as he appeared (...) unable to provide clear answers to the questions, rambled and stuttered, and provided the impression that he was too old and tired to run. Consequently, he left the race, ceded his candidacy to Vice-President Kamala Harris who lost a hard-fought and bitter election campaign to Trump who was inaugurated as President in January 2025 as I am completing this book. (shrink)

This paper examines the reaction of Victorian Presbyterian culture to the theory of evolution in late nineteenth century Scotland. Focusing on the role played by the Free Church theologian, biblical critic and anthropological theorist, William Robertson Smith, it argues that, compared with Smith’s radical scholarship, evolutionary theories did little to disturb the Scottish Calvinist mind-set. After surveying the attitudes to evolution among a range of theological leaders, the paper examines Smith’s fundamentally threatening proposals and the circumstances that led to the (...) public spectacle of his dismissal from his Free Church professorship. It concludes by suggesting that, ironically, even while his fellow churchmen were making their peace with Darwin, Smith was mobilising an evolutionary outlook that challenged Scotland’s conservative religious culture to its very core. (shrink)

This chapter focuses on three historical cases of the development and deployment of spectacles from fundamentally different sources of social power. The first involves turning the creation and dissemination of printed materials, a practice largely limited to a small religious and academic class, into a battleground over the legitimacy of particular religious teachings and the political powers entwined with them. The second case involves how supposedly secularizing countries use spectacles with religious themes that have lives of their own. The third (...) case involves a ruler who seized power and used spectacle to bolster both the legitimacy of her own reign and the standing of her country. (shrink)

Muttaqin et al. (2026) provide an illuminating commentary on a recent article of mine in this journal (Metcalf Philosophy & Technology, 39, 69, 2026). They view my pessimistic predictions about widespread LLM use in humanities scholarship in terms of Debord’s (1994) understanding of spectacle. In this brief commentary, I evaluate Muttaqin et al.’s analysis. I think the Debordian lens helps us clearly understand some of the problems with technical incrementalism, but I explain how my analysis differs in several ways from (...) Debord’s overall view and approach. (shrink)

In these essays grouped under the title Spectacles and Predicaments Gellner is doing in social theory what Luigi Pirandello did on the stage, namely, make us involved in the political predicaments of life rather than be a mere observer of the spectacle of politics. The book is divided into three parts: part one is concerned with philosophers and their philosophies by which we interpret humanity; part two deals with the nature of knowledge and its implications; and part three concerns the (...) political implications of philosophy. Just about all the essays are reviews of books dealing with the various topics of philosophy and socio-political questions. As a result the unity that one hopes to find is never really developed. (shrink)

This book offers an original analysis of the primacy of media spectacle in the politics, social history, and major events of the 21st century which highlights the importance of critical analysis and interpretation of broadcasting, the Internet, and social meaning in understanding the key historical events and the multiple factors that produce them during the contemporary era. The text explores how broadcasting and digital media constitute the major media spectacles of our time and how they in turn present the key (...) issues, challenges, conflicts, and problems of the present era. Thus understanding broadcasting and digital media help us to understand our contemporary society, politics, and culture and to play a more active role in understanding and participating in our contemporary media societies and environments. Kellner argues throughout for the need for critical media and digital literacies to empower students and citizens to become active participants in our media society and technoculture and to understand the key events and challenges of contemporary life. Douglas Kellner has been researching, writing about, and lecturing upon the major topics and studies in this book for the last several decades and this book brings together key aspects of his work on theorizing, analyzing, and evaluating the role of effects of major media spectacles of the 21st century. The author Douglas Kellner works at the intersection of "third generation" critical theory in the tradition of the Frankfurt Institute for Social Research, or Frankfurt School and in cultural studies in the tradition of the Birmingham Centre for Contemporary Cultural Studies. He has just retired after over fifty years of University teaching from the George Kneller Chair in the Philosophy of Education in the Graduate School of Education and Information Studies at the University of California, Los Angeles. (shrink)

Summary This paper analyzes the Spanish appropriation of one of the great French eighteenth-century best-sellers, the Spectacle de la Nature (1732--1750) by the abbé Antoine Nöel Pluche. In eight volumes, the abbé discussed current issues in natural philosophy, such as Newtonianism, the origin of fossils, artisan techniques, natural history, machines, gardening or insect-collection in a polite-conversation format. It was translated into English (1735), Dutch (1737), Italian (1737), German (1746) and Spanish (1753). But the four Spanish editions were very different from (...) their European counterparts. In Spain, it was delivered in 16 carefully printed and extensively commented volumes. In Pluche's original, there was a concern for the young gentleman's education, new pedagogical methods and an enthusiastic defence of experimental knowledge. However, Le Spectacle in Spain was conceived as a useful tool for modernizing the country, it served political and propagandist goals, defended Spanish culture and science (in particular with respect to American flora, fauna and geography) and the Jesuit contribution to science and aimed to harmonize experimental knowledge and scholastic tradition. The analysis of the more than 1500 footnotes, prefaces, some readers’ comments and other questions related to the format gives insight on how it was appropriated. (shrink)

ArgumentThis article explores the history of mummy unwrappings in the West, culminating in Margaret Murray's public unrolling of two mummies in Manchester in 1908. Mummy unwrappings as a practice have shifted often between public spectacles which displayed and objectified exotic artifacts, and scientific investigations which sought to reveal medical and historical information about ancient life. Although others have looked at Murray's work in the context of the history of mummy studies, I argue that her work should be viewed culturally as (...) poised between spectacle and science, drawing morbid public interest while also producing ground-breaking scientific work that continues to this day. Murray's main goal was to excite the interest of the public while at the same time educating them in the true history of ancient Egypt, while ascertaining new scientific information and contributing to the scholarly interpretations of ancient Egypt. (shrink)

Global economic and advanced capitalist agendas have taken on ideological dimensions that are flat, precise and which assert ‘undeniable’ facts. These agendas are gradually shaping a society and its education based on consumerism and a global economic order which is ‘not accidentally or superficially spectacular, it is fundamentally spectaclist. In the spectacle … goals are nothing, development is everything. The spectacle aims at nothing other than itself’. In this paper, I argue, in line with Debord, that teachers’ work has moved (...) from being predominantly controlled by technicist accountability and pedagogical conformity to become a form of decentred labour. Teachers’ work has been transformed into the role of spectator, one who is destined to simply monitor events in the classroom and in technologized environments, caught between the economic world view and student consumer desire. In such a view, the teacher can do little more than watch while education, subjugated to economic dogma and digitized appearances, presents life as a spectacle of accumulation and desire. (shrink)

The tragedy of critique -- The sound and the fury : the insights and limits of the critique of critique -- The experience of critique : inside permanent liminality -- Critique is history? : understanding a tradition of tradition-breaking -- Unthinking critical thinking : the reduction of philosophy to negative logic -- The cacophony of critique : populist radicals and hegemonic dissent -- Asocial media : an auto-ethnography of on-line critiques -- Towards acritical theory -- Bibliography -- Index.

Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage to (...) our appropriate reactive attitudes, and until we locate a relevant difference between these depictions in gorefests and in other genres, we should assume that the depictions in gorefests do no damage. I consider and reject three candidate differences: in artistic merit, meaningfulness, and audience orientation. Until genre skeptics identify a relevant difference, we should accept the taste for gory fictions as we would any other morally innocuous variation in taste. (shrink)

This essay examines the critical role played by comedy and laughter in Plato. It begins by taking seriously Plato's critique of comedy and his concerns about the negative effects of laughter in dialogues such as Republic and Laws. It then shows how Plato, rather than simply rejecting comedy and censuring laughter, attempts to put these into the service of philosophy by rethinking them in philosophical terms. Accordingly, the laughable or the ridiculous is understood not just in relation to the ugly (...) or the ignoble, as it is in Homer, but in relation of blindness, ignorance, and falsity. By taking up such a philosophical perspective, one can then distinguish what truly is laughable from what merely appears so. It is in this way that Plato is able to explain why Socrates appeared so ridiculous to the multitude but was known to be anything but to those who were able to see him with philosophical eyes, that is, those who were able to attend to what I call the spectacle of laughter. The paper concludes... (shrink)

Rousseau maintains that the spectacle isolates us at the very same moment when it brings us together. This article argues that this striking remark must be understood within the more general framework of a critique of the spectacular nature of modern society. But if the spectacle is not simply an occasional form of entertainment, but a social relationship that pervades modern society as a whole, how can we escape from it? Rousseau’s homeopathic strategy, according to which we should fight an (...) evil through small doses of that very same evil, offers a solution that is crucial for grasping the scope of Rousseau’s critique of the spectacle as well as for rethinking the possibility of democracy. (shrink)

This article examines how Xiaohongshu, a fashion- and lifestyle-orientated online social commerce platform with a predominantly female user base (70%), simultaneously challenges and reinforces conventional beauty standards. While users are positioned within the discourse of ‘she power’, the platform’s framing of empowerment remains deeply contradictory. Drawing on six months of online ethnography and in-depth interviews, this article explores how Xiaohongshu constructs and commercialises stylised femininity as a form of spectacle. Analysing aesthetic practices through three dimensions – norms, dual gazes and (...) resistance – the findings reveal that user engagement (e.g. likes, comments, shares) drives algorithmic learning. This process transforms beauty pressures into data, reinforcing platform-defined ideals while promoting ‘relatable’ influencers who mirror everyday users. Such dynamics offer surface-level relief from beauty norms yet deepen entrenchment in consumerist algorithmic culture. The article extends Guy Debord’s theory of the spectacle by demonstrating how platform participation sustains aesthetic standards through interactive visibility. It also contributes to scholarship on gendered platform economies by uncovering the socio-technical mechanisms shaping women’s engagement with digital beauty cultures. As the data primarily reflect urban, youth-orientated experiences, future research should investigate non-urban and cross-platform variations. (shrink)

Les mondes virtuels sont issus des MMORPG, Massively Multiplayer Online Role-Playing Games qui sont eux-mêmes issus du monde du jeu vidéo. À ce titre, il existe une filiation « ludique » entre ces différents dispositifs. Les travaux de Steinkuehler suggèrent que les mécanismes de l’apprentissage générés par les jeux issus des mondes virtuels dépendent « certes de la nature du jeu mais aussi des pratiques sociales qu’ils engendrent ». Dans cette continuité, nous avons démontré dans nos travaux que ces environnements (...) immersifs permettaient de créer du lien social et donnaient lieu à des formes de rites numériques entre sphère privée et publique. Dans cet article nous nous intéressons aux controverses des environnements immer- sifs en questionnant la place du corps virtuel au sein de ces dispositifs qui pourraient se situer selon nous, entre lieux de spectacle, de loisir et d’apprentissage médiatisé. Le cas des serious games sera évoqué à titre d’illustration.Virtual worlds started with the MMORPG who emerged from the video gaming world, thus indicating their play-related origins. Steinkuehler’s work suggests that the learning mechanisms triggered by games in the virtual world depend “on the nature of the game obviously, but also on the social practices they give rise to”. Continuing this line of study, our work shows that these immersive environments actually forge social ties and generate digital rites of various kinds between the public and private spheres. In this article, we explore the controversies around immersive environments through an investigation of the virtual body within these systems, which we believe function as venues partly for entertainment, partly for leisure and partly as mediated learning spaces. The case of “serious games” is discussed here as an illustration. (shrink)

This essay engages an undertheorized form of democratic agency: the embodied spectacle that characterizes a strain of activist politics. Where an existing literature addresses “the spectacle” as a tactic of power, it does not do justice to how marginal groups have used radical bodily acts in order to intervene within the image-world of democratic politics (e.g., hunger strikes, die-ins, self-immolation). The essay argues that such performances represent a standing challenge to democratic theory and demand a more richly sensuous approach to (...) how political claims are made. Such forms of bodily theatre do not only “speak” in ways that exceed official civic discourses but, in so doing, they unsettle the space of citizenship. Ultimately, these bodies do something in being undone. (shrink)

The following essay examines visual representations of hurricane Katrina in popular media in order to show how photography continues to be enlisted in the production of the racial spectacle, the transformation of the plight of people of color into entertainment. The essay also analyzes how such a use of the visual serves to solidify the understanding of people of color by way of a black-white binary that does not do justice to current U.S. demographics. The essay provides a glimpse into (...) the intertwining between the visual and racial thinking. (shrink)

Alongside the robots, rockets, kitchen appliances, and other technical wonders displayed at the great expositions and world’s fairs of the late-19th and early-20th centuries, visitors frequently found deceptively staid demonstrations of banal bureaucratic tools: cards, fiches, and files. Yet these technologies of information management were aestheticized and presented as integral to the generation and pursuit of the fairs’ ambitious ‘world projects’: global networks, universal intelligences, efficient cities, colonized galaxies. The small, moving parts of information functioned as critical tools for city- (...) and world-building. In this article we begin with the 1964–5 World’s Fair, where bits and fragments of information fueled (or generated?) space-age visions, then trace those mid-century imaginaries back to the 1939–40 World’s Fair and a constellation of expos at the turn of the century, to see how the small, moving parts of information management ‘scale up’ to generate grand fantasies, and, at the same time, how they serve to index their own particular political and cultural milieux. (shrink)

The article considers the problem of images and the role they play in our reflection turning to evidence provided by two seemingly very distant theories of mind together with two sorts of corresponding visions: dreams as analyzed by Freud who claimed that they are pictures of our thoughts, and their mechanical counterparts produced by neural networks designed for object recognition and classification. Freud’s theory of dreams has largely been ignored by philosophers interested in cognition, most of whom focused solely on (...) the linguistic incarnation of thoughts, but even though commonly neglected by respectable theories of thinking, dream images may prove to be the key to the black box of thought. As argued in this article, when seen from the right perspective and approached with the right set of questions, oneiric visions yield groundbreaking insights into the mechanism of how concepts and judgments are formed. Support for this conclusion comes from a tradition seemingly remote, if not opposed to psychoanalysis: the mechanical model of the mind conceived by information sciences and embodied in the form of artificial neural nets which mirror the activity of human visual cortex producing visions strikingly similar to those created by the sleeping mind. These purely mechanical, artificial ‘dreams’ constitute byproducts of algorithms designed for object recognition and classification, which, as I shall argue, reveals the true purpose of our own oneiric visual formations. Just like their mechanical counterparts produced by neural networks, condensations and displacements encountered in dreams are in fact visual universals. (shrink)

Resumo: Diante do duplo impasse atual de “carnaval tecnológico” e “experiência superficial”, enfrentado pelos espaços de turismo cultural imersivo, este estudo propõe as seguintes contramedidas e sugestões: toma a “Unidade Corpo-Ambiente” como uma importante perspectiva ontológica e se centra nela, para realizar uma reconstrução profunda. Construindo um modelo analítico quadridimensional de “corporeidade-ambientalidade-interpenetrabilidade-criatividade”, isto serve tanto como complemento ao desprezo pela corporificação na teoria crítica espacial ocidental quanto como tradução desse conceito para aplicação prática. Este texto insiste, consistentemente, na reflexão teórica (...) sobre a “Unidade Corpo-Ambiente”, permanecendo vigilante contra seus riscos de romantização ou assimilação pelo capital. Finalmente, este trabalho argumenta que o design espacial deve ser uma “habitação existencial” que transcende o espetáculo tecnológico - uma fusão profunda entre humanidade e natureza. (shrink)

The 2003 Iraq war was a major global media event constructed very differently by varying broadcasting networks in different parts of the world. While the U.S. networks framed the event as "Operation Iraqi Freedom" (the Pentagon concept) or "War in Iraq," the Canadian CBC used the logo "War on Iraq," and various Arab networks presented it as an "invasion" and "occupation." In this study, I provide critique of the U.S. broadcasting network construction of the war that I interpret as providing (...) a conduit for Bush administration and Pentagon propaganda. (shrink)

The borderline between philosophy and literature is highly contested. Still, if literary theorists and philosophers agree on the occasional work’s ability to transcend border norms altogether, Samuel Beckett’s Endgame is a piece of dramatic writing that amply deserves the distinction. My article attempts a symptomatic comparison between the existential condition of Endgame’s characters, on the one hand, and the philosophical predicament, on the other. The importance of failure – both as an obstacle and as a catalyst for regeneration – provides (...) a useful framework for this cross-disciplinary comparison. I draw inspiration from Stanley Cavell’s reading of Endgame, but I take Cavell’s analysis a step further. In ‘Ending the Waiting Game’ Cavell finds satisfaction in discovering what Beckett’s play can say about a specific school of philosophy – logical positivism. I treat this discovery as an invitation to consider the possibility of a broader conclusion. There is much in Endgame, in Cavell’s other writings, in the works of his and Beckett’s commentators and in Wittgenstein’s legacy that points to the existence and acceptance of philosophical infirmity. I see the recognition of this infirmity as a necessary step towards a better understanding of the play but also as a contribution to our general sense of the productive continuities between philosophy and literature. (shrink)

Violence is a spectacle. Not because it is simply something that we observe but, more fundamentally, because it is a mechanism through which we observe and define other things. Violence has the capacity to shape the ways that we see, and thereby come to know, these things. In other words, violence is more than a practice that acts upon the bodies of individual subjects to inflict harm and injury. It is, metaphorically speaking, also a way of looking at these subjects.

This paper argues that the passages on tragedy in Nietzsche's Daybreak, taken together, articulate a conception of tragic psychology that plays a pivotal role in the overarching argument of the book. I maintain that in Daybreak, Nietzsche construes tragedy as the embodiment of a superior alternative to the (modern, Christian) moral worldview that is the main target of his critique, and that in the curious phenomenon of tragic pleasure, Nietzsche identifies a potent antidote to what he calls the Circean seductions (...) of morality. (shrink)