This study formulates the basic premises of materialism, which has largely lost its visibility despite being one of the fundamental philosophical approaches that have been effective in the development of modern scientific practice and the construction of philosophy of science, in an alternative way, and aims to develop a new materialist interpretation of it that is non-reductive, pluralistic and open to the use of more than one scientific discipline. This interpretation, expressed with the term relational materialism, first addresses matter with (...) the concept of signifier and foregrounds the concept of beable as the general philosophical category of matter. Secondly, it formulates the category of beable within the irreducible integrity of the categories of relationality, nonstaticity, and finitude; and positions knownability in terms of its correspondence to these general onto-epistemological categories. Thirdly, it clarifies the conditions of existence and knownability of particular entities under general categories based on specially corresponding onto-epistemological categories (interactability, structurability, contextuality, transformability, scale-dependency, actuality, contingency). In this respect, this study offers a pluralistic philosophical framework within which different methodological positions and scientific disciplines can be formulated and criticized based on combinations of different particular categories under general categories. In the conclusion of this article, the meaning and potential of relational materialism for the development of scientific research programs are evaluated. (shrink)

This brief brochure is intended to present a philosophical theory known as relational materialism. We introduce the postulates and principles of the theory, articulating its ontological and epistemological content using the language of category theory. The identification of any existing entity is primarily characterized by its relational, finite, and non-static nature. Furthermore, we provide a categorical construction of particularities within the relational materialist onto-epistemology. Our objective is to address and transform a specific perspective prevalent in scientific communities into a productive (...) network of philosophical commitments. (shrink)

A commissioned article about philosopher of ecology Levi Bryant, and his theory of urban space.

In this paper, I will briefly summarize the history and current accounts of Evolutionary Medicine (EM). I will show that EM, in its current forms, is using an evolutionary understanding that carries the explanatory framework, as well as explanatory limits, of the Modern Synthesis (MS). I will then point out some essential elements that need to be seen as limiting factors within EM and analyze the limitations that are brought about by the MS understanding of it. On this basis, I (...) will argue that if the latest developments in evolutionary theory are considered – in particular, those pertaining to the inheritance mechanisms highlighted by the Extended Evolutionary Synthesis (EES), and the newly introduced evolutionary entities – EM will have a much broader explanatory scope and increased explanatory power in addition to greater relevance, which will enable its application in medical explanations. (shrink)

Social dimension of moral responsibility has started to gain more attention in moral philosophy, be it within the network of action theory, or any other meta-ethical domain. Although there are many social acts and therefore social dimensions of responsibility, I aim to indicate one aspect of sociality in our thinking and practice, particularly in our moral thinking, that is the thick concepts. In this work, I consider Vargas’s concept moral ecology (2015, 2018) as a tool to understand certain social aspects (...) of moral responsibility, while claiming to extend his line of thinking in moral ecology by giving a more active role to the individual agent within the ecology that she is engaged in. I claim that when we understand the relationships between the agent and her surrounding ecology in a more complex, and under certain circumstances in a rather reciprocal way, we can have a better and more nuanced understanding of non-ideal moral landscapes that we are engaged in, while maintaining a certain kind of responsibility to the agents in their social environments. I will use the term niche construction and niche selection – concept that are already at use within the similar biological line of thought within action – to refer to such situations where agents are actively shaping their environments. (shrink)

In this paper, my main aim is to analyse Mao’s conception of Marxist theory and his Marxist subjectivity in theory construction in his three articles. While doing so, I will use two main approaches, first is the idea that Karl Marx’s method in understanding social relations and his theory of knowledge is in many aspects compatible and in continuation with an epistemological reading of Hegel’s subjectivity, and the second is the general structure about the relationship between the object and subject’s (...) process of knowing is similar in all three thinkers. While doing so, I will advocate the position that Mao’s epistemology is compatible with the Marxist understanding of Hegelian epistemology, and that from such an epistemological understanding it is possible to investigate Mao’s three texts in a way that yields, not an orthodox or “end result” Marxism, but instead a more general, meta epistemological understanding of Marx, that is understood better structurally. Eventually, I will claim that while using “scientific” or “orthodox” Marxism as a method to understand society, Mao further uses the subjective element in the same way as Hegel and Marx used it, although eventually he diverts the Marxist subjective manoeuvre to another direction. (shrink)

Research in infection biology aims to understand the complex nature of host–pathogen interactions. While this knowledge facilitates strategies for preventing and treating diseases, it can also be intentionally misused to cause harm. Such dual-use risk is potentially high for highly pathogenic microbes such as Risk Group-3 (RG3) bacteria and RG4 viruses, which could be used in bioterrorism attacks. However, other pathogens such as influenza virus (IV) and enterohemorrhagic Escherichia coli (EHEC), usually classified as RG2 pathogens, also demonstrate high dual-use risk. (...) As the currently approved therapeutics against these pathogens are not satisfactorily effective, previous outbreaks of these pathogens caused enormous public fear, media attention and economic burden. In this interdisciplinary review, we summarize the current perspectives of dual-use research on IV and EHEC, and further highlight the dual-use risk associated with evolutionary experiments with these infectious pathogens. We support the need to carry out experiments pertaining to pathogen evolution, including to gain predictive insights on their evolutionary trajectories, which cannot be otherwise achieved with stand-alone theoretical models and epidemiological data. However, we also advocate for increased awareness and assessment strategies to better quantify the risks-versus-benefits associated with such evolutionary experiments. In addition to building public trust in dual-use research, we propose that these approaches can be extended to other pathogens currently classified as low risk, but bearing high dual-use potential, given the particular pressing nature of their rapid evolutionary potential. (shrink)

Staphylococcus aureus ST45 is a major global MRSA lineage with huge strain diversity and a high clinical impact. It is one of the most prevalent carrier lineages but also frequently causes severe invasive disease, such as bacteremia. Little is known about its evolutionary history. In this study, we used whole-genome sequencing to analyze a large collection of 451 diverse ST45 isolates from 6 continents and 26 countries. De novo-assembled genomes were used to understand genomic plasticity and to perform coalescent analyses. (...) The ST45 population contained two distinct sublineages, which correlated with the isolates’ geographical origins. One sublineage primarily consisted of European/North American isolates, while the second sublineage primarily consisted of African and Australian isolates. Bayesian analysis predicted ST45 originated in northwestern Europe about 500 years ago. Isolation time, host, and clinical symptoms did not correlate with phylogenetic groups. Our phylogenetic analyses suggest multiple acquisitions of the SCCmec element and key virulence factors throughout the evolution of the ST45 lineage. (shrink)

(This is the preprint version) This book is about disease, but disease from a very specific perspective, namely that of evolutionary medicine. However, in doing so, it explains evolutionary medicine in its current form now, criticizes it, and tries to apply it not directly on disease instances or tokens of disease, but rather the concept of disease. Doing so, the aim of this book is to ask the question; how to build a better concept of disease? The parts of the (...) answer to this question are answered in different chapters piece by piece, trying to give an account of a better concept first and giving an account of how to see the concept of disease grounded differently. This book is not about giving every possible account of disease, or even the major ones including the established or traditional concept. This book is not about providing a singular perspective on diseases in general, however it assumes a general orthodoxy of medicalized disease understanding. In this book, I will defend the thesis that, when the concept of disease is seen from perspectives provided by evolutionary biology, the ontology of disease and the surrounding perspectives shall change, leading our understandings in medicine related to concept of disease and social, action guiding concepts to shift towards a more individualized and care based understanding of medicine to overcome the epistemic injustices that are done by the orthodox understanding of disease that prevails in medicine. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

Review of Charles Ray's recent show, Figure Ground, at The Metropolitan Museum of Art.

Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.

Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for new (...) media conditions, as cinema is no longer emblematic of our cultural climate. As Giorgio Agamben wrote in 1992, “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema…human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere." Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. (shrink)

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...) consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.

This paper looks at dialectical inferences as they relate to Hegel’s modal metaphysics, closely examining the Actuality section of Hegel’s Science of Logic and positing a reading of Hegel’s modal actualism that engages with two strains of secondary commentary. Responding to commentators, we make the case that Hegel’s ‘das Logische’ avoids presupposing possibility’s being prior to actuality insofar as actuality and the derivation of possibility is considered as the in-itselfness of actuality, an implicit inner moment whereby actuality further determines itself. (...) Actuality is immediate yet derived as an identity from the logic of inner and outer. If actuality as immediacy is explicit/outer, then its opposition, its implicitness/innerness, has to be possibility in the logic of modality. In order to conceive of actuality as existence, and particularly as an emerging process, we must already conceive the problem of presupposing an alien form within the logic of actuality. (shrink)

Omnicide: Mania, Fatality and Future-in-Delirium (2019) finds Iranian-American philosopher and comparative literature theorist Jason Bahbak Mohaghegh carving the figure of the diffracted neo-Bedouin wanderer, whose mania we tail through the book’s haunted pages. The book’s namesake, “omnicide,” refers to the complete and total erasure of the Earth--the term has most recently been generally applied in ecological contexts, most markedly in regards to the Anthropocene and futurology. However, it is the explicitly poetic and literary intersection between mania and the grotesque that (...) Mohaghegh inches us towards, lifting omnicide from its proscriptive use in the Western philosophical/sociological tradition and goading it towards an unfamiliar cryptic terrain. Surveying ten contemporary Middle Eastern poets and fiction writers, including Sadeq Hedayat (Iran), Réda Bensmaia (Algeria), Samuel Adonis (Syria), Joyce Mansour (Egypt), Forugh Farrokhzad (Iran), Ibrahim al-Koni (Libya), Ahmad Shamlu (Iran), Ghada Samman (Lebanon), Mahmoud Darwish (Palestine) and Hassim Blasim (Iraq), Mohaghegh parses curious stanzas and plucks spectral paragraphs from myriad texts so as to navigate the largely occluded and excised narratives of the contemporary Middle Eastern philosophical-literary canon. Not only does Mohaghegh acuminate the multifaceted question of mania and its variegated networks, chambers, byways and sunken burrows--so as to juxtapose two different world literatures (East and West)--but Mohaghegh also illuminates this oeuvre to affront the Western psychoanalytic treatment of mania as an exclusionary vessel. Thus, despite Mohaghegh avoiding any explicit references to Western philosophers and scientists, both the codified dictum of the medical decree and the hyper-genealogical superlative tradition of Georges Canguilhem, Michel Foucault and their contemporaries rankle Omnicide’s annals. (shrink)

As a philosophical paradigm, differential heterogenesis offers us a novel descriptive vantage with which to inscribe Deleuze’s virtuality within the terrain of “differential becoming,” conjugating “pure saliences” so as to parse economies, microhistories, insurgencies, and epistemological evolutionary processes that can be conceived of independently from their representational form. Unlike Gestalt theory’s oppositional constructions, the advantage of this aperture is that it posits a dynamic context to both media and its analysis, rendering them functionally tractable and set in relation to other (...) objects, rather than as sedentary identities. Surveying the genealogy of differential heterogenesis with particular interest in the legacy of Lautman’s dialectic, I make the case for a reading of the Deleuzean virtual that departs from an event-oriented approach, galvanizing Sarti and Citti’s dynamic a priori vis-à-vis Deleuze’s philosophy of difference. Specifically, I posit differential heterogenesis as frame with which to examine our contemporaneous epistemic shift as it relates to multi-scalar computational modeling while paying particular attention to neuro-inferential modes of inductive learning and homologous cognitive architecture. Carving a bricolage between Mark Wilson’s work on the “greediness of scales” and Deleuze’s “scales of reality”, this project threads between static ecologies and active externalism vis-à-vis endocentric frames of reference and syntactical scaffolding. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that there (...) exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics and (...) feminist critique, such as Bogna Konior, Yvette Granata, Jonathan Fardy and John Ó Maoilearca. Within this variegated assemblage, Kolozova’s most recent project, Capitalism’s Holocaust of Animals(2019), saliently reconciles and radicalizes Haraway’s epochal dyad of the “inhuman”—a bifurcation riven by technology on one node and the animal on the other—by a resolution of superlative unity. This methodology, adhering to Laruelle’s system of“synthesis-without-synthesizing” attempts to dissolve the spectral chimeras that have haunted philosophy’s metaphysical heredity, proffering a generic identity. (shrink)

Giorgio Agamben's Creation and Anarchy is comprised of five meditative essays compiled over the last few years and presented as an anthologized collection. The initial few chapters' survey postmodern art qua divinity, with particular interest to a contradictory dialectic: inspiration and critique. Drawing from an idiosyncratic amalgam of thinkers–ranging from bastion thinkers such as Kant and Heidegger to zoologist Jacob von Ueküll and prescient media philosopher Gilbert Simondon–Agamben carves a historiographic lineage between politics, animal studies, landscape painting, and religion.

Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.

Much of the work in moral philosophy and the political debate on abortion has focused on when in human development personhood begins. In this article, using a variant of Derek Parfit’s view on personal identity, I instead frame the question as one of victimhood. I argue for what I call the Victim Requirement for the wrongness of killing–killing is wrong only if there is an identifiable victim. An identifiable victim is, temporally speaking, in the midst of a chain of psychological (...) connections in the sense of “Relation R.” I go on to argue for a version of psychological identity which makes consciousness a necessary condition of rational self-interest and numerical identity across time. The implications for the abortion debate, based upon the best neurological evidence, are that abortion cannot be wrong before at least 22 weeks of pregnancy and perhaps significantly later. I then respond to alternatives to my Victim Requirement and argue that they either fail on their own merits or are deeply problematic. Finally, I discuss the role of autonomy and consent in a world where fetal consciousness develops much earlier. (shrink)

The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...) Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women; Summer Landscape (1888) suggests Klint’s technical aptitude for rendering light. Jadranka Ryle, in a clever article titled “Reinventing the Yggdrasil,” invokes Klint’s motif of the Yggdrasil, or the holy tree of Norse mythology, as a political axle for Nordic romanticism. Ryle makes the claim that by redirecting the Yggdrasil towards androgynous abstraction, Klint’s engagement with Norse mythology subverts the nationalist and patriarchal romanticism that previously characterized the nineteenth century’s use of the Yggdrasil. Others have adroitly uncovered biographical fragments from Klint’s life, detailing how she and four friends formed De Fem (“the Five”), an exclusively female coven that met weekly, praying, meditating, and holding seances to commune with spiritual guides. Rather than poise the Swedish maverick within the cannon of abstraction qua a political praxis, feminist subject-being, or historiography – projects that have been exhaustively overwrought, to the point of rendering Klint’s work both mute and reductively technical– I would like to take this time to closely examine simply one of Klint’s paintings and foreground it as an axiomatic modernist injunction between metaphysics and epistemology. (shrink)

The infinite judgement has long been forgotten and yet, as I am about to demonstrate, it may be urgent to revive it for its critical and productive potential. An infinite judgement is neither analytic nor synthetic; it does not produce logical truths, nor true representations, but it establishes the genetic conditions of real objects and the concepts appropriate to them. It is through infinite judgements that we reach the principle of transcendental logic, in the depths of which all reality can (...) emerge in its material and sensible singularity, making possible all generalization and formal abstraction. (shrink)

In her seminal text, What Should We Do With Our Brain? (2008), Catherine Malabou gestured towards neuroplasticity to upend Bergson's famous parallel of the brain as a "central telephonic exchange," whereby the function of the brain is simply that of a node where perceptions get in touch with motor mechanisms, the brain as an instrument limited to the transmission and divisions of movements. Drawing from the history of cybernetics one can trace how Bergson's 'telephonic exchange' prefigures the neural 'cybernetic metaphor.' (...) It is elsewhere, however, that What Should We Do With Our Brain? finds its crux: inspired a dialectical-speculative opposition between plasticity and flexibility (wherein plasticity is the way in which time shapes or fashions us, constitutes our subjectivity and at the same time allows for resistance), Malabou invalidates the 'telephonic exchange' metaphor for failing to take into account synaptic and neuronal vitality. Bolstered by neurologist Marc Jeannerod's research in The Nature of Mind (2002), Malabou further demonstrated, in her past work, that the cybernetic metaphor has also had its day. In Morphing Intelligence, by problematizing intelligence as strictly empirical and biologically determined, Malabou also troubles the traditional distinction between intelligence and intuition. This division is perhaps best exemplified by Bergson’s analysis of intellectual measurement magnitudes in his appeal to intensity, and intensity alone. Malabou, drawing from Dewey and the pragmatism mode of thought, characterizes this fetid standstill as little more than provincialism, charging that, ater Bergson, no truly new argument was offered to counter intelligence as defined by psychologists and biologists, including the most recent cognitivist version. Despite I disagree with her claims regarding cognitivism, in echoing Georges Canguilhem, Malabou castigates psychology’s instrumentalist regard for intelligence, making the claim that it is able to measure only the human ability to “become an instrument.” Malabou contends that Alfred Binet (who heavily critiqued Bergson) had it right—intelligence is constituted by intensities and qualities. This book picks up from this critique and works genealogically; in my exegetical review, I engage with Malabou's and its implications, given her past work. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...) of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

A book review of The Michel Henry Reader, edited by Scott Davidson and Frédéric Seyler.

In “Psychopower and Ordinary Madness” my ambition, as it relates to Bernard Stiegler’s recent literature, was twofold: 1) critiquing Stiegler’s work on exosomatization and artefactual posthumanism—or, more specifically, nonhumanism—to problematize approaches to media archaeology that rely upon technical exteriorization; 2) challenging how Stiegler engages with Giuseppe Longo and Francis Bailly’s conception of negative entropy. These efforts were directed by a prevalent techno-cultural qualifier: the rise of Synthetic Intelligence (including neural nets, deep learning, predictive processing and Bayesian models of cognition). This (...) paper continues this project but first directs a critical analytic lens at the Derridean practice of the ontologization of grammatization from which Stiegler emerges while also distinguishing how metalanguages operate in relation to object-oriented environmental interaction by way of inferentialism. Stalking continental (Kapp, Simondon, Leroi-Gourhan, etc.) and analytic traditions (e.g., Carnap, Chalmers, Clark, Sutton, Novaes, etc.), we move from artefacts to AI and Predictive Processing so as to link theories related to technicity with philosophy of mind. Simultaneously drawing forth Robert Brandom’s conceptualization of the roles that commitments play in retrospectively reconstructing the social experiences that lead to our endorsement(s) of norms, we compliment this account with Reza Negarestani’s deprivatized account of intelligence while analyzing the equipollent role between language and media (both digital and analog). (shrink)

Drawing from Arjen Kleinherenbrink's recent book, Against Continuity: Gilles Deleuze's Speculative Realism (2019), this paper undertakes a detailed review of Kleinherenbrink's fourfold "externality thesis" vis-à-vis Deleuze's machine ontology. Reading Deleuze as a philosopher of the actual, this paper renders Deleuzean syntheses as passive contemplations, pulling other (passive) entities into an (active) experience and designating relations as expressed through contraction. In addition to reviewing Kleinherenbrink's book (which argues that the machine ontology is a guiding current that emerges in Deleuze's work after (...) Difference and Repetition) alongside much of Deleuze's oeuvre, we relate and juxtapose Deleuze's machine ontology to positions concerning externality held by a host of speculative realists. Arguing that the machine ontology has its own account of interaction, change, and novelty, we ultimately set to prove that positing an ontological "cut" on behalf of the virtual realm is unwarranted because, unlike the realm of actualities, it is extraneous to the structure of becoming-that is, because it cannot be homogenous, any theory of change vis-à-vis the virtual makes it impossible to explain how and why qualitatively different actualities are produced. (shrink)

Book review of Colin Koopman's How We Became Our Data (2019).

Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...) theatre and poetry, particularly the habituation effects of its consumption; specifically, Plato saw that the tragedy embodied by those performers inhabiting the stage and the enraptured audiences who engaged at the level of emotions. Plato censured the putatively groundless feelings demonstrated by actors and their transposition, artificiality’s ripple effect. Consider, for example, the actor performing the role of Achilles who extravagantly expresses grief without truly undergoing it. Audience members inhere towards an unmerited emotional hunger-cum-satisfaction for those putatively irrational feelings of loss by way of weeping and wailing. For Plato, such identification is devoid of proper evaluative grounding and, therefore, is corruptive. Plato’s critique can be considered an evaluation of the kind of rational emotional arrest that occurs through artificial emotional uptake. However, one could counter Plato’s position by noting how, regardless of whether these emotions are performed or the actors “truly” feel them, they may serve a political purpose and greater ends—bridging the audience together with performer/artist, allowing an “as if” simulative scenario. (shrink)

A review of Michel Henry's Marx (2020) that focuses on the later philosophical-economic body of his works.

“Bilimsel Devrimlerin Yapısı” adlı kitabıyla Thomas Kuhn'un bilim felsefesi çalışmalarında yeni bir çığır açtığı bilinmektedir (Öztürk, 2012: 171). Bu çalışma, Kuhn’un “Bilimsel Devrimlerin Yapısı (The Structure of Scientific Revolutions)” adlı eseri başta olmak üzere, bu eser üzerine yapılan çeşitli çalışmalar referans alınarak sunulmaktadır. Tüm bu çalışmalarda bilimin ilerleme tarzının ele alındığı, fakat bilimin ilerleme tarzı hakkında farklı sıralamaların yer aldığı görülmektedir. Bu çalışmanın amacı, bilimin ilerleme tarzı hakkında daha önce ele alınanlardan farklı bir sıralama sunmaktır. Ulaşılan bu farklı sıralama ile (...) Kuhn’un anlaşılır kılınması mümkün olabilecektir. Çalışmanın amacı doğrultusunda, bilimin ilerleme tarzı hakkında farklı bir sıralama sunarak beş aşamalı bir sıralama ortaya konulacak olup, literatüre de bir katkı sağlanmaktadır. Sıralamaya ilişkin aşamalar, olağan bilim öncesi dönem (paradigma öncesi), olağan bilim dönemi (paradigma ve bilmece), bunalım dönemi (bilimsel kuramların ortaya çıkması), bilimsel devrim dönemi (olağanüstü araştırma ve olağanüstü bilim) ve bilimsel devrim sonrası dönem (yeni paradigma ve yeni olağan bilim) olarak ayrı ayrı ve detaylı bir şekilde incelenmektedir. (shrink)

This work is focused on the thought that the nature of communication between a father and his daughter influences how that woman will perceive her identity. It is known that a person's perception of his own identity affects his attitude. A person who has a positive perception of identity can realize himself by reaching his reality, while it is thought that a person with a negative and non-constructive perception of identity will experience difficulties in reaching his reality. The objective of (...) this thesis is to review father-daughter communication and attain its effects on how a woman perceives her identity. Father-daughter communication will be discussed based on the Existential Communication concept of the existential philosopher Karl Jaspers, who puts communication at the core of his philosophy. Semi-structured in-depth interviews were conducted with seven female participants who were identified by applying the snowball sampling recruitment technique. During the interviews, the participants were asked questions about their communication with their father. Records of the interviews were analyzed and resolved with the thick description method. The participant data obtained from the in-depth interviews was reviewed in the context of the Existential Communication concept and the findings include results that support the hypothesis of this master thesis work. (shrink)

This article examines the multi-layered structure of Nezihe Meriç’s work “Bozbulanık,” revealing how language is reconstructed within the reader’s mind. The study explores the interplay between the surface narrative and the deeper meanings that emerge from the mental images evoked by words and symbols. Drawing on Chomsky’s distinction between surface and deep structures, as well as the interpretative approaches of theorists like Dijk and Kintsch, the paper offers a linguistic analysis that underscores literature’s capacity to convey dynamic and evolving meanings. (...) In doing so, it highlights how textual analysis and linguistic theory converge to show that meaning is not static but is continuously re-created by the reader. Bu yazı, Nezihe Meriç’in “Bozbulanık” adlı eseri üzerinden metnin çok katmanlı yapısını incelerken, dilin okuyucu zihninde nasıl yeniden inşa edildiğini ortaya koyar. Metinde, yüzeydeki anlatı özellikleri ile altında yatan derin anlamlar arasındaki ilişki, kelimelerin ve sembollerin çağrıştırdığı zihinsel imgeler aracılığıyla sorgulanmaktadır. Chomsky’nin yüzey ve derin yapı ayrımının yanı sıra, Dijk ve Kintsch gibi kuramcıların metin yorumuna dair yaklaşımları ışığında, eserin dilbilimsel analizine yönelik bir bakış sunulmaktadır. Böylece, yazı hem edebi metin çözümlemesinde hem de dilbilimin sağladığı kuramsal çerçevede, anlamın sabit bir formda değil, sürekli olarak okuyucu tarafından yeniden yaratılan dinamik bir süreç olduğunu vurgular. (shrink)

Robin George Collingwood, tarihsel bilginin dinamik ve öznel doğasını kabul ederek, doğa bilimlerinden farklı bir tarihsel metodolojinin gerekliliğini vurgulamıştır. Onun felsefesi, tüm insanlık tarihinin temelde insan düşüncesinin ve öz farkındalığının tarihi olduğunu ileri sürer. Collingwood, tarihsel aktörlerin düşüncelerini ve niyetlerini yakalama çabasında, geçmiş olayların “dışı” ve “içi” arasında ayrım yapar. Ona göre, tarihçinin rolü sadece olayları kaydetmenin ötesine geçer; ilgili soruları formüle ederek geçmiş düşünceleri zihinsel olarak yeniden canlandırmayı içerir. Bu makale, Collingwood'un felsefesinin tarihsel kavrayış üzerindeki derin etkisini, özellikle (...) de “soru ve cevap mantığı” olarak bilinen yaklaşımı aracılığıyla incelemektedir. Bu yöntem, tarihsel anlayışın temeli olarak sorular ve cevaplar arasındaki etkileşimin altını çizmektedir. Soru ve cevap mantığı, önermeler ve sorular arasındaki karmaşık bağı vurgulayarak geleneksel mantığa meydan okur ve böylece tarihsel sorgulamada anlam, hakikat ve anlayışı yeniden tanımlar. Ayrıca makale, bu yaklaşımı hermenötik gelenek içerisinde analiz ederek, anlamanın süregelen ve sonsuz doğasını ele almaktadır. Heidegger'in döngüsel hermenötik anlayışıyla paralellikler kurarak, tarihsel yorumlamanın ve tarihsel anlam arayışının dinamik, diyalektik ve diyalojik doğasını vurgulamaktadır. Özetle, bu çalışma Collingwood'un çağdaş hermenötik üzerindeki etkisini incelemekte ve tarihsel yorumlama ve insan anlayışında soru ve cevap mantığının geçerliliğini yeniden teyit etmektedir. (shrink)

Felsefe Optiğinden Aşkın Renkleri kitabı Senail Özkan’ın bir takdim yazısı, giriş ve yedi bölümden oluşmaktadır. Kitapta kaynakçaya yer verilmemiştir. Halilov, kitabın giriş kısmında ‘aşk’ın ne olduğunu ve hangi ilim dalı tarafından ele alınması gerektiğini açıklamıştır. Ona göre aşk insanın manevi âleminin en derin katmanlarında ortaya çıktığı için temel itibariyle bilinçdışı alana aittir. İlim onu irdeleyemez, aşk, ilim için muğlak bir alandır ve mantıki düzlemde değerlendirilmesi oldukça zordur. İlim açısından incelenemediği için bu işi felsefe ve şiir üstlenmektedir.(s.16, s. 55) Şiir (...) ve aşk ilişkisine değinen Halilov, şiirin aşk ile büyük bir ilgisi olduğunu Doğu’da ve Batı’da aşk konusunun şiir sanatının kapsamı içinde değerlendirildiğini söyler. Doğu’da Nizami, İbn Arabi, Mevlana, Fuzuli, İkbal ve Cavid’e kadar Doğu şairlerinin aşk konusunu ele aldığı ve bununla ilgili eserler verdiğini ekler. Halilov’a göre Doğu’da aşk, ‘ilahi nitelikte’ ele alınmaktadır. Bütün kitap boyunca ‘ilahi aşk’ meselesi üzerinde duran Halilov bazen bu görüşü savunmuş bazen de tutarsız ve gerçek hayattan uzak olduğunu anlatmaya çalışmıştır. Ona göre aşk, ilahi olmaktan ziyade ferdi, bireysel veya insanidir. Aşk, ‘yerle gök arasında’ olması gerekmektedir. Bu açıdan Halilov aşkı, rasyonel bir düzlemde alan Batı öğretisini tercih ettiğini söylemektedir.(s.18) Fakat kitabına baktığımızda aslında Halilov’un bazı gerekçeler nedeniyle bu konuda biraz tereddütte kaldığını göreceğiz. (s.25). (shrink)

“Gecenin bir yarısı kalktığınızı düşünün; bedeniniz yatağın ayakları arasında tam olarak ne kadar aralık olduğunu ve ne yapması gerektiğini bilir. Bir bakıma, etrafınızdaki mekân sizinle konuşur ve incelikle kurulmuş ritim oyunları arasına yerleştirir sizi. Mekânı hareket, ses ve doku ritimleriyle özümsediğimiz —etrafımızdakilerle yankılandığımız— her gün dolu dolu yaşanan bir olaydır bu. Mekân ve zaman bedende birleşir. Bu derin beden bilinci tam da yerleşmenin tanımıdır. Bachelard mimarinin Öklidci geometriye dayanarak anlaşılmasından kurtarıp mekânın yaratıcı poetikasına ulaştırdı bizi.” -/- Gaston Bachelard’ın hayranlık (...) uyandıran mekân çalışmalarını farklı disiplinlerle birlikte kat etmeyi amaçlayan bu kitap, okurunu hem Bachelard’la hem de onun felsefi, edebi, mimari, tasarım yorumlarıyla buluşturuyor. Farklı disiplinlerin “mekân” fikrinden hareketle aslında sadece mimari için değil ilgili her disiplin için sorulması gereken soruyu gündeme getiriyor: “Mimarlar neden Bachelard okur?” Elinizdeki derleme barındırdığı metin ve görsel çeşitliliğiyle mekânların ritmini bulmaya çalışıyor. Mimari, felsefe ve edebiyat meraklısı okurların keyifle peşine düşeceği bir serüven sunduğumuzu düşünüyoruz. (shrink)

Yirminci yüzyıl bilimde büyük değişim ve dönüşümlerin gerçekleştiği bir dönemdir. Bu yüzyıl içerisinde moleküler biyoloji, kuantum fiziği, genetik mühendisliği ve biyoteknoloji gibi çeşitli bilimlerin temellerinin atıldığı, bilimsel keşifler ve yenilikler neticesinde kuramların ve teknolojilerin hızla geliştiği ve bu gelişmelerin insanlık tarihini köklü bir şekilde etkilediği bir dönem olmuştur. Yirminci yüzyılda bilimsel ilerleme önceki dönemlerden çok daha hızlı bir oranda gerçekleşmiş ve toplumsal yaşam üzerindeki etkisinin daha derin olduğu gözlemlenmiştir. Bu nedenle yirminci yüzyıl genellikle icatların ve teknolojik gelişmelerin yüzyılı olarak (...) adlandırılmaktadır çünkü bilimsel keşiflerin sayısı artmakla birlikte çok sayıda bilim insanı mevcut teknolojiyi daha etkin bir şekilde kullanarak çalıştıkları alanlarda kapsamlı sonuçlara ulaşmışlardır. Dolayısıyla bilim ve teknoloji bu süre zarfında geçmişte olduğundan çok daha yakın hale gelmiştir. Bununla birlikte, bilimin ilerlemesinin hızlı bir şekilde devam etmesi ve mevcut araştırmaların önemli bir kısmının tarihsel bir bakış açısıyla incelenemeyecek kadar yeni ve çok sayıda olması nedeniyle bu yüzyıldaki bütün bilimsel gelişmelerden ve disiplinlerden bahsetmek mümkün değildir. Bu sebeple yazının kapsamını daraltmak açısından yirminci yüzyılda bilimi ve teknolojiyi en çok etkileyen alan olan fizik bilimindeki önemli konulara değinmek bu dönemin ruhunu anlamak ve bilimin dönüşümüne yönelik bir kavrayışa sahip olmak açısından daha uygun gözükmektedir. Bu bağlamda, çalışmada Dünya’mızı ve evreninin işleyişini anlama konusunda başvurduğumuz disiplinlerden biri olan fizik biliminde yirminci yüzyılda devrimsel bir düşünce olarak karşımıza çıkan Albert Einstein’ın özel ve genel görelilik kuramına yer verilmekle birlikte aynı zamanda günümüzde etkileri bilimsel ve teknolojik düzeyde devam eden kuantum mekaniğine yönelik genel bir perspektif sunulmaktadır. (shrink)

Bu çalışmada Metin Erksan’ın 1965 yapımı Sevmek Zamanı filminin “bir resme âşık olma” hikâyesi gibi görünen anlatısının aslında dönemin varoluşçu felsefesinin Türkiye’deki özgün bir yansıması olduğu ve bunun da filmdeki kadın karakter ile kurulduğu gösterilecektir. Yazıda filmde beliren temsil, korku, özgürlük ve iletişim temaları öncelikle Platon’un mağara alegorisi ve Heidegger’in varoluşçu felsefesinin Dasein (orada-varlık) kavramına başvurularak ele alınacaktır. Filmde âşık olduğunu söylemekten çekinen Halil’in Meral’in temsiline kaçışı resmin bakışındaki iyilik ve sevgi ile açıklanır. Doğada insanların uzağında yaşayan ve çalışan Halil (...) arkadaşı Mustafa’nın kötülük uyarısı ile Meral’den kaçmaktan vazgeçip onunla konuşmaya karar verir. Halil’in kaçışındaki korkunun kaynağı Halil’in varoluşunun Meral tarafından tanınıp onaylanmaması ihtimali olsa da Meral’in Halil’in varoluşuna özgürce ve ihtimamla yaklaşarak Halil’in korkusunu daha derin bir varoluşsal kaygı ve özgürlükle karşı karşıya getirir. Yazı Meral’in Halil ile aynı moda girebilip onu anlayabilmesi ve bu güce sahip olmasının ikisi arasında iletişimi mümkün kıldığını iddia etmektedir. Yazıda en son filmin toplumsal gerçekçi yanında kadın sorununun nasıl şekillendiği ortaya konulacaktır. Meral Halil’i tanısa, kendisi Halil tarafından tanınsa bile kendi sınıfından gelen bir tanıma reddi ile karşılaşmaktadır. Bu tanımamanın ölüm kadar sert bir şiddete ulaşmasının nedeni ise ekonomik sınıfı değil cinsiyetidir. (shrink)

Öz: Felsefenin benlik konusundaki geleneksel tutumu töz dualizmine başvurarak açıklanabilir. Çağdaş zihin araştırmalarında benlik ise, daha çok fizik dünyanın gerçekliği dolayımıyla ve genellikle bilinçli zihin durumu olarak olgusallık temelinde araştırılmaktadır. Bu çalışmada ise benliğin olgusallığı, olgu ve kurgu kategorilerinin bilgikuramsal bir çözümlemesi aracılığıyla ve mantığa uyarlık açısından ele incelenecektir. Bu bağlamda “olgu” ve “kurgu”yu bir tür karşıtlık ya da derin farklılıklar içeren iki kavram olarak açıklamanın haklı gerekçelere dayanmadığı öne sürülmektedir. Buna bağlı olarak da herhangi bir zihin araştırmasının benliği (...) olgu saymadan yapılamayacağı savunulmaktadır. Bu çalışmada özellikle deneyime ilişkin yeni bir kavrayışın gerekli olmasının sonucunda benlik tartışmalarının belli türden bir araştırma programı izlendiğinde gündemimize taşıyabileceği olanaklar soruşturulacaktır. (shrink)

Kâmil Erdem Öykülerinde Metinler Arasılık, yazarın Yok Yolcu, Bir Kırık Segâh, Şu Yağmur Bir Yağsa kitaplarında bulunan öykülerde metinler arası ilişkilere odaklanan, metinler arasılığın üretilen yeni metne etkilerini sorgulayan, ilgilerin açıklanmasında edebiyat, tarih, siyaset bilimi, sosyoloji, müzik ve resim gibi alanlardan faydalanan bir araştırmadır. Çalışma; “Metinler Arasılık Kuramı”, “Kâmil Erdem Öykülerinde Metinler Arasılık” başlıklarını taşıyan iki ana bölümden oluşmuştur. Çalışmanın “Giriş” bölümünde yazara ait biyografi bilgisi verilmiştir. “Metinler Arasılık Kuramı” başlığı taşıyan birinci bölümde metinler arasılık kuramı ve tarihçesi özetlenmiş, ikinci (...) bölümde öyküler okur merkezli bir bakışla, metinler arasılık kuramına uygun olarak tahlil edilmiştir. Yazarın bilinçli olarak kurucu yapı ögesi olarak kullandığı metinler arası ilgiler kimi öykülerinde de ekininden ve ilgilerin çağrışım ortaklığından doğmuştur. Yazar, öykünün gizlerini çözecek katılımcı olarak okuru, metnin üretimine dâhil etmiştir. Metinler Arası ilgiler vasıtasıyla öykülerin derin yapısında; karakter, mekân, zaman ögelerinin inşasında şiirsel ve düşsel etki artırılmış, öykü türünün az sözle çok şey söyleme tutumuna uygun olarak üslup yoğunluğu sağlanmış ve çoğunlukla öykülerin mesajını taşıyan toplumcu gerçekçi temalara referans verilmiştir. (shrink)

Rogier van der Weyden'in bu olağanüstü eseri, Yüce İsa'nın acılı veda anını derinlemesine işleyerek bize büyük bir ruhani derinlik sunuyor. Ressamın bu eseri hayata geçirirken duyduğu büyük acı ve ruhsal derinlik, onun sanatının kalbinde yatan insanlık ve inanç temasını güçlendiriyor. O dönemin zenginleri arasında büyük ün kazanmasının ardında yatan şey, bu eserin sanatın sınırlarını aşan etkileyici gücüdür. Ancak şüphesiz ki, bu eser insanlık için yaratılırken, hangi inançtan olursa olsun herkese dokunan bir acıyı da temsil ediyor. -/- Ressamın duygularını ve detayları (...) bu denli etkileyici bir şekilde aktarması, bu eserin günümüzde bile büyük bir hayranlıkla karşılanmasına yol açıyor. Van der Weyden'in tablosu, insanlık tarihinde derin izler bırakan evrensel bir sanat eseri olarak kabul ediliyor. Bu çeviriyi yaparken dönemin koşullarını ve sanatın gücünü daha iyi anladım. Vikipedi gibi kaynaklardan bilgi çevirirken, yabancı dillerdeki bilgilere olan erişimin önemini bir kez daha kavradım ve bu eseri Türkçe konuşanlarla buluşturmanın değerini anladım. -/- Umarım bu eser, okuyuculara van der Weyden'in sanatının derinliğini ve insanlık hikayesinin evrenselliğini anlatırken ilham verir ve onları düşündürür. Sanatın gücü ve insanın duygusal derinlikleri konusundaki bu yolculuk, hepimizi daha iyi bir anlayışa ve içsel bir zenginliğe yönlendirebilir. -/- --- -/- Rogier van der Weyden's extraordinary work offers us profound spiritual depth by delving deeply into the poignant farewell moment of Jesus Christ. The profound sorrow and spiritual depth felt by the painter while creating this work strengthen the theme of humanity and faith at the heart of his art. The impressive power of this work, which transcends the boundaries of art, lies behind the great fame it achieved among the elites of its time. However, unquestionably, this work also represents a universal sorrow that resonates with people of all beliefs. -/- The painter's ability to convey emotions and details in such a compelling manner has led to enduring admiration for this work even in contemporary times. Van der Weyden's painting is recognized as a universal masterpiece that has left deep imprints on the history of humanity. Translating this text has deepened my understanding of the conditions of the time and the power of art. It has also reinforced the importance of accessing information from sources like Wikipedia in foreign languages, and I have come to appreciate the value of bringing this work to Turkish-speaking audiences. -/- I hope this work inspires readers by revealing the depth of van der Weyden's art and the universality of the human story, prompting them to reflect. This journey into the power of art and the emotional depths of humanity can lead us all to greater understanding and inner richness. (shrink)