Pub Date : 2023-01-02DOI: 10.1080/0969725x.2023.2167776
Ewa Macura-Nnamdi, Tomáš Sikora
{"title":"WATER","authors":"Ewa Macura-Nnamdi, Tomáš Sikora","doi":"10.1080/0969725x.2023.2167776","DOIUrl":"https://doi.org/10.1080/0969725x.2023.2167776","url":null,"abstract":"","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"1 - 2"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42377160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/0969725x.2023.2167796
A. Philippopoulos-Mihalopoulos
Abstract The water’s voice is tetchy, angry even. It is something to do with measurements and enclosures. Or perhaps with humanity in general. The water speaks to no one in particular. A gargling monologue about vastness and death, its exoplanetary itineraries and its chthonic hideaways, its elements and qualities, even its lack of voice. Even so, the water’s voice enters a subaquatic communication with two other bodies, genderless, formless, in constant becoming. These are both human and non-human bodies, their ways of touching require no skin, moving along primordial confluences and elemental conflicts.
{"title":"THE OTHER WATER","authors":"A. Philippopoulos-Mihalopoulos","doi":"10.1080/0969725x.2023.2167796","DOIUrl":"https://doi.org/10.1080/0969725x.2023.2167796","url":null,"abstract":"Abstract The water’s voice is tetchy, angry even. It is something to do with measurements and enclosures. Or perhaps with humanity in general. The water speaks to no one in particular. A gargling monologue about vastness and death, its exoplanetary itineraries and its chthonic hideaways, its elements and qualities, even its lack of voice. Even so, the water’s voice enters a subaquatic communication with two other bodies, genderless, formless, in constant becoming. These are both human and non-human bodies, their ways of touching require no skin, moving along primordial confluences and elemental conflicts.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"139 - 143"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43137898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725X.2022.2139025
Jean Wyatt
Abstract Oyeyemi's critique of racism in the United States focuses on the visual binary between whiteness and blackness, which she shows working in multiple ways to warp and distort relationships. In the Whitman family, children are valued (or not valued) according to how their skin color registers on a scale determined by white superiority. Oyeyemi's approach to racism takes the circuitous route of retelling the fairy tale of “Little Snow White,” thus calling into her own narrative a foundational text of Western cultural aesthetics which links beauty to whiteness. (Snow White, whose skin is “white as snow,” is “fairest in the land.”) Rather than narrate a new version of the fairy tale, Oyeyemi separates out its elements – magic mirror, evil stepmother, and beautiful white stepdaughter – and develops each into a new thematic configuration. My analysis focuses on the subtle ways that Oyeyemi's reshaping of mirror, evil stepmother, and innocent beautiful young girl exposes the harms to children inflicted by allegiance to a (false) structure of visible difference between white skin and black skin.
{"title":"Mirror Mirror","authors":"Jean Wyatt","doi":"10.1080/0969725X.2022.2139025","DOIUrl":"https://doi.org/10.1080/0969725X.2022.2139025","url":null,"abstract":"Abstract Oyeyemi's critique of racism in the United States focuses on the visual binary between whiteness and blackness, which she shows working in multiple ways to warp and distort relationships. In the Whitman family, children are valued (or not valued) according to how their skin color registers on a scale determined by white superiority. Oyeyemi's approach to racism takes the circuitous route of retelling the fairy tale of “Little Snow White,” thus calling into her own narrative a foundational text of Western cultural aesthetics which links beauty to whiteness. (Snow White, whose skin is “white as snow,” is “fairest in the land.”) Rather than narrate a new version of the fairy tale, Oyeyemi separates out its elements – magic mirror, evil stepmother, and beautiful white stepdaughter – and develops each into a new thematic configuration. My analysis focuses on the subtle ways that Oyeyemi's reshaping of mirror, evil stepmother, and innocent beautiful young girl exposes the harms to children inflicted by allegiance to a (false) structure of visible difference between white skin and black skin.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"27 1","pages":"83 - 97"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46480791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725X.2022.2139007
R. L. Scott
Abstract This essay critiques Rita Felski’s employment of Axel Honneth’s theorisation of “recognition” for a postcritical literary theory and, in turn, Honneth’s own appropriation of recognition from Hegel. In her article “Recognizing Class,” Felski uses Honneth’s concept of recognition to read Didier Eribon’s memoir Returning to Reims, and to argue for the importance of lived experience in analyses of class and its literary representation. This leads her to indict Marxism for its ideal of a classless society. Why should we will the abolition of class when many workers experience their class as a source of pride and belonging? What workers need is not emancipation from their class, but adequate recognition. By drawing upon Gillian Rose’s Hegelian account of recognition, this essay contends that by assuming recognition in advance as an ideal, Felski and Honneth overlook that without emancipation from bourgeois property and class relations, the recognition they presuppose remains an impossibility.
{"title":"The Limits of Recognition","authors":"R. L. Scott","doi":"10.1080/0969725X.2022.2139007","DOIUrl":"https://doi.org/10.1080/0969725X.2022.2139007","url":null,"abstract":"Abstract This essay critiques Rita Felski’s employment of Axel Honneth’s theorisation of “recognition” for a postcritical literary theory and, in turn, Honneth’s own appropriation of recognition from Hegel. In her article “Recognizing Class,” Felski uses Honneth’s concept of recognition to read Didier Eribon’s memoir Returning to Reims, and to argue for the importance of lived experience in analyses of class and its literary representation. This leads her to indict Marxism for its ideal of a classless society. Why should we will the abolition of class when many workers experience their class as a source of pride and belonging? What workers need is not emancipation from their class, but adequate recognition. By drawing upon Gillian Rose’s Hegelian account of recognition, this essay contends that by assuming recognition in advance as an ideal, Felski and Honneth overlook that without emancipation from bourgeois property and class relations, the recognition they presuppose remains an impossibility.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"27 1","pages":"21 - 30"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42529932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725X.2022.2139030
C. Wolfe
Abstract This essay deploys the theoretical frames of inheritance and echography to recover and redefine the meaning, for environmental philosophy, of Martin Heidegger’s storied hut in the Black Forest in Germany, where large portions of Being and Time and other major texts were written. Drawing on the work of Jacques Derrida, Stanley Cavell, Ralph Waldo Emerson, and others, the essay insists that a deconstructive reading is crucial to recovering and sustaining the significance for environmental philosophy of Heidegger’s work, a reading quite different from those found in Deep Ecology. In that context, the essay transforms the hut into a kind of spectral presence that is put into dialogue with other, later “echoes”: the poetry of Paul Celan, the work of experimental film-maker and artist James Benning, and the author’s own current art project, focused on a clearcut site in the mountains of Colorado.
{"title":"Ecology/Echography","authors":"C. Wolfe","doi":"10.1080/0969725X.2022.2139030","DOIUrl":"https://doi.org/10.1080/0969725X.2022.2139030","url":null,"abstract":"Abstract This essay deploys the theoretical frames of inheritance and echography to recover and redefine the meaning, for environmental philosophy, of Martin Heidegger’s storied hut in the Black Forest in Germany, where large portions of Being and Time and other major texts were written. Drawing on the work of Jacques Derrida, Stanley Cavell, Ralph Waldo Emerson, and others, the essay insists that a deconstructive reading is crucial to recovering and sustaining the significance for environmental philosophy of Heidegger’s work, a reading quite different from those found in Deep Ecology. In that context, the essay transforms the hut into a kind of spectral presence that is put into dialogue with other, later “echoes”: the poetry of Paul Celan, the work of experimental film-maker and artist James Benning, and the author’s own current art project, focused on a clearcut site in the mountains of Colorado.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"27 1","pages":"98 - 135"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44791266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725x.2022.2138997
S. Moncef
{"title":"General Issue II 2022","authors":"S. Moncef","doi":"10.1080/0969725x.2022.2138997","DOIUrl":"https://doi.org/10.1080/0969725x.2022.2138997","url":null,"abstract":"","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":" ","pages":"1 - 2"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47921754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725X.2022.2139022
M. Kennel
Abstract This study reconceptualizes violence as the violation of value-laden boundaries through a close reading of the Death and the Displacement of Beauty trilogy by feminist philosopher of religion Grace M. Jantzen. Given the inherent normativity of the concept, it is difficult to imagine how violence could avoid simply becoming a tool in the hands of the powerful who would define it in polemical or coercive ways. But Jantzen’s work runs counter to a fatalistic treatment of the term by seeking the redemption of the present and a therapeutic approach to the violent pathologies of philosophy. Through a radical reconfiguration of the relationship between mortality and natality, Jantzen both diagnoses and critiques the death-obsessed moral imaginary of modernity. In response, I argue that Jantzen’s sophisticated methodological resistance to an ontology of violent displacement provides an important counter-narrative to the violent metanarratives of modernity that order origins and ends in absolutizing, universalizing, and totalizing ways.
本研究通过对女权主义宗教哲学家Grace M. Jantzen的《死亡与美的移位》三部曲的仔细阅读，将暴力重新定义为对价值边界的侵犯。鉴于这一概念固有的规范性，很难想象暴力如何能够避免成为权势者手中的工具，这些权势者将以辩论或强制的方式定义暴力。但是Jantzen的作品通过寻求对现在的救赎和对哲学的暴力病态的治疗方法，与对这个术语的宿命论处理背道而驰。通过对死亡与出生关系的彻底重构，詹岑对现代性中被死亡所困扰的道德想象进行了诊断和批判。作为回应，我认为Jantzen对暴力流离失所本体论的复杂方法论抵抗提供了一个重要的反叙事，以现代性的暴力元叙事，秩序的起源和终结于绝对化，普遍化和总体化的方式。
{"title":"Violent Displacements","authors":"M. Kennel","doi":"10.1080/0969725X.2022.2139022","DOIUrl":"https://doi.org/10.1080/0969725X.2022.2139022","url":null,"abstract":"Abstract This study reconceptualizes violence as the violation of value-laden boundaries through a close reading of the Death and the Displacement of Beauty trilogy by feminist philosopher of religion Grace M. Jantzen. Given the inherent normativity of the concept, it is difficult to imagine how violence could avoid simply becoming a tool in the hands of the powerful who would define it in polemical or coercive ways. But Jantzen’s work runs counter to a fatalistic treatment of the term by seeking the redemption of the present and a therapeutic approach to the violent pathologies of philosophy. Through a radical reconfiguration of the relationship between mortality and natality, Jantzen both diagnoses and critiques the death-obsessed moral imaginary of modernity. In response, I argue that Jantzen’s sophisticated methodological resistance to an ontology of violent displacement provides an important counter-narrative to the violent metanarratives of modernity that order origins and ends in absolutizing, universalizing, and totalizing ways.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"27 1","pages":"67 - 82"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48960731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725X.2022.2139012
Annemarie Lawless
Abstract This essay explores the question of why M figures in the names of all of Beckett’s major characters. I connect M to the word murmuring, which proliferates in his work, and I claim that Beckett was influenced by a passage in Dante’s Purgatorio, in which each face in a group of penitents is inscribed with the letter M. With a rounded eye socket below each arch, the faces of the penitents spell omo or man. I argue that M stands for man – not the humanist form of man that existed for Dante, but rather a ruined figure that is adequate to this moment. Throughout, I engage with critical approaches to Beckett that attempt to connect the posthumanism suggested in his work with the new form of ethics – and of love – that it makes possible.
{"title":"Beckett’s M","authors":"Annemarie Lawless","doi":"10.1080/0969725X.2022.2139012","DOIUrl":"https://doi.org/10.1080/0969725X.2022.2139012","url":null,"abstract":"Abstract This essay explores the question of why M figures in the names of all of Beckett’s major characters. I connect M to the word murmuring, which proliferates in his work, and I claim that Beckett was influenced by a passage in Dante’s Purgatorio, in which each face in a group of penitents is inscribed with the letter M. With a rounded eye socket below each arch, the faces of the penitents spell omo or man. I argue that M stands for man – not the humanist form of man that existed for Dante, but rather a ruined figure that is adequate to this moment. Throughout, I engage with critical approaches to Beckett that attempt to connect the posthumanism suggested in his work with the new form of ethics – and of love – that it makes possible.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"27 1","pages":"31 - 49"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49418216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725X.2022.2139018
Sue Lovell, Reza Arab
Abstract This study is defined within the context of the critical posthuman project of decentring humanist subjectivity. We argue that because agential realism, and the agency and performativity that go with it, do not enable non-human matter to be accountable, only human matter, in its intra-active becoming with non-human matter, can support an ethical project. Secondly, we map our understanding of Barad’s agential realism, explaining the importance of agential cuts in phenomena-in-their-becoming that are the world worlding itself, and evaluate ethics, agency, and performativity in this material-discursive framework. Thirdly, understanding the material-discursive to underpin storied matter, we engage it via some clarification of narrative, and narrative agency. We conclude that much organic or inorganic nature as non-human matter is directional and responsive, so alive and generative and, in this sense, capable of worlding itself. However, it does not tell its own stories in the process.
{"title":"Evaluating the Credibility of Storied Matter in the Context of Agential Realism","authors":"Sue Lovell, Reza Arab","doi":"10.1080/0969725X.2022.2139018","DOIUrl":"https://doi.org/10.1080/0969725X.2022.2139018","url":null,"abstract":"Abstract This study is defined within the context of the critical posthuman project of decentring humanist subjectivity. We argue that because agential realism, and the agency and performativity that go with it, do not enable non-human matter to be accountable, only human matter, in its intra-active becoming with non-human matter, can support an ethical project. Secondly, we map our understanding of Barad’s agential realism, explaining the importance of agential cuts in phenomena-in-their-becoming that are the world worlding itself, and evaluate ethics, agency, and performativity in this material-discursive framework. Thirdly, understanding the material-discursive to underpin storied matter, we engage it via some clarification of narrative, and narrative agency. We conclude that much organic or inorganic nature as non-human matter is directional and responsive, so alive and generative and, in this sense, capable of worlding itself. However, it does not tell its own stories in the process.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"27 1","pages":"50 - 66"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41486903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/0969725X.2022.2139003
W. Mules, Erika Kerruish
Abstract In cinematic experience, a view from nowhere appears in an instituting moment – neither in time nor out of time, but part of time itself – when a camera reflex lifts the viewer’s perception out of somewhere and into the infinite time of the film. We argue that the view from nowhere found in Birt Acres’s film Rough Sea at Dover – a fifteen-second shot of waves breaking against a sea wall in Dover, England in 1895 – transcends all attempts to turn it into a view from somewhere, as an empty space that carries the auratic trace of the past into the present through phase shifts of technical mediation. In Simondon’s terms, the view from nowhere opens up possibilities of becoming all ways at once in the reflexive capacity of the human organon. Following Stiegler’s organological technics, we identify the capture of perception by the apparatus of recording and playback in the digitally automated algorithm as a threat to the reflexive capability of the organon to see otherwise in the creative individuation opened up in the phase-shifting process. Our analysis triggers a switch from an anthropocentric to a neganthropic-ecological mode of seeing in which the auratic trace of the event of waves crashing against the pier is seen in an inhuman view from nowhere that carries the threat of automatized systems in which human noesis – self-reflexive capacity – is eclipsed by machines. By seeing otherwise, the eclipse by machines is reversed to reveal the complex becoming of the film in its materiality as a work of creative individuation.
摘要在电影体验中，当镜头反射将观众的感知从某个地方提升到电影的无限时间时，不知从哪里传来的景象出现在一个既定的时刻——既不是时间，也不是时间，而是时间本身的一部分。我们认为，Birt Acres的电影《多佛的汹涌大海》（Rough Sea at Dover，1895年拍摄的海浪冲破英国多佛海堤的15秒镜头）中的这种不知从何而来的景象，超越了将其转变为某个地方的景象的所有尝试，成为一个通过技术调解的阶段性转变将过去的光环带到现在的空白空间。用西蒙顿的话来说，这种不知从哪里来的观点打开了以人类器官的反射能力同时成为所有方式的可能性。根据斯蒂格勒的器官学技术，我们将数字自动化算法中记录和回放设备对感知的捕捉确定为对器官在相移过程中开启的创造性个性化中的反射能力的威胁。我们的分析触发了从以人类为中心向反人类生态模式的转变，在这种模式下，波浪撞击码头事件的听觉痕迹是在一个不人道的视角中从任何地方看到的，这带来了自动化系统的威胁，在自动化系统中，人类的呼吸——自我反射能力——被机器所掩盖。通过观察其他情况，机器的遮蔽被逆转，揭示了电影作为一部创造性个性化作品的物质性的复杂性。
{"title":"A View From Nowhere","authors":"W. Mules, Erika Kerruish","doi":"10.1080/0969725X.2022.2139003","DOIUrl":"https://doi.org/10.1080/0969725X.2022.2139003","url":null,"abstract":"Abstract In cinematic experience, a view from nowhere appears in an instituting moment – neither in time nor out of time, but part of time itself – when a camera reflex lifts the viewer’s perception out of somewhere and into the infinite time of the film. We argue that the view from nowhere found in Birt Acres’s film Rough Sea at Dover – a fifteen-second shot of waves breaking against a sea wall in Dover, England in 1895 – transcends all attempts to turn it into a view from somewhere, as an empty space that carries the auratic trace of the past into the present through phase shifts of technical mediation. In Simondon’s terms, the view from nowhere opens up possibilities of becoming all ways at once in the reflexive capacity of the human organon. Following Stiegler’s organological technics, we identify the capture of perception by the apparatus of recording and playback in the digitally automated algorithm as a threat to the reflexive capability of the organon to see otherwise in the creative individuation opened up in the phase-shifting process. Our analysis triggers a switch from an anthropocentric to a neganthropic-ecological mode of seeing in which the auratic trace of the event of waves crashing against the pier is seen in an inhuman view from nowhere that carries the threat of automatized systems in which human noesis – self-reflexive capacity – is eclipsed by machines. By seeing otherwise, the eclipse by machines is reversed to reveal the complex becoming of the film in its materiality as a work of creative individuation.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"27 1","pages":"3 - 20"},"PeriodicalIF":0.3,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44655473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：