2020-01Editorial
The Life of the Image

Preview: Bergson noted that the cinematographic image does not really move. It is, then as now, a series of still photographs. The real motion in such images is produced by machinery, which imparts a kinesis, an energy of movement, to the succession of fixed images. Our perception then endows such images with their “life,”…

2020-01Thematic Section
Photomontage: Between Fragmentation and Reconstruction of Experience

Abstract: In the twentieth century, due to the development of mechanical reproduction and press, photomontage became a popular means of communication – popular and diverse in its nature and methods of exploitation (considering press in Germany or in the Soviet Union and individual works of art). It is one of the cultural…

2020-01Table of Contents
Philosophy in Digital Culture: Images and the Aestheticization of the Public Intellectual’s Narratives

Abstract: The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have…

2020-01Thematic Section
Film as a Dream of the Modern Man: Interpretation of Susanne Langer’s “Note on the Film”

Abstract: The paper concerns a “Note on the Film,” a short appendix to Feeling and Form by Susanne Langer. The interpretation interweaves the Note into a larger context of Langer’s philosophical work – primarily in terms of her understanding of the dream as a lower symbolic form, to which the film is compared – as well as…

2020-01Thematic Section
The Images to Come: On Showing the Future without Losing One’s Head

Abstract: The paper discusses the possibility of a cinematic image which represents future catastrophes, while avoiding ideological entrapments and self-serving fantasies. Taking a Japanese ghost story and a brief note by Walter Benjamin as his dual starting point, the author first attempts to define the possible dangers inherent to the very idea of showing the future,…

2020-01Thematic Section
The Role of Phantasy in Relation to the Socially Innovative Potential of Filmic Experience

Abstract: The aim of my essay is to distinguish the aspects of the filmic experience that are decisive in relation to the film’s capability to sensitize the viewer to social issues in Williams’s sociology of culture. In order to do that, I will take into consideration Williams’s understanding of film as a particular medium that is connected with…

2020-01Forum
The Artificial Enclave: Redefining Culture

Abstract: This article offers a new definition of culture which hinges on what we consider to be its most distinctive feature, namely its artificiality. Our definition enables us to resolve some of the main issues and controversies involved in the concept of culture and its course of development. We argue that the large human brain…

2020-01Forum
Where Are the Wild Things? A Cultural-Psychological Critique of a Political Theology of Climate Change Denial

Abstract: One aim of this essay is to understand why white evangelical Christians, more than any other religious adherents in the United States, are deeply invested in denying the emergency of anthropogenic climate change and in obstructing action to address anthropogenic climate change. Michael S. Hogue, in his recent book, American Immanence,…

2020-01Discussion Papers, Comments, Book Reviews
Eco on Interpreting the Sign: The Limits of Narrating that which Cannot Be Theorized

Abstract: Eco says that which cannot be theorized must be narrated. What about that which cannot be narrated? What must we do about (and at) the limits of interpretation, especially as (performative) narration. This review essay takes a method from Giambattista Vico and applies it to the interpretation of Laurent Binet’s portrayal of Umberto…

2020-01Discussion Papers, Comments, Book Reviews
Presentism and Beyond

Preview: /François Hartog interviewed by Marcin Rychter/ We have these three categories: past, present and future, and I think we can acknowledge these categories and that they contend against each other as universal. The ways they are being experienced, organized, linked vary in different places and in different times. Regimes of historicity is the concept that…