- Home
- A-Z Publications
- Empedocles: European Journal for the Philosophy of Communication
- Previous Issues
- Volume 10, Issue 2, 2019
Empedocles: European Journal for the Philosophy of Communication - Volume 10, Issue 2, 2019
Volume 10, Issue 2, 2019
-
-
Understanding media in the context of object-oriented ontology
Authors: Sergey Klyagin and Irina AntonovaAbstractThis article examines the theoretical conditions of studying media considered as a specific type of phenomenon, a 'medium phenomenon', to use a philosophical term. The purpose of this study is to examine and evaluate the interpretations of the medium phenomenon in the context of object-oriented ontology, with the authors drawing on the latest philosophical theories and explaining other scholars' reasons for investigating media in particular ways. As part of this inquiry, the authors aim at clarifying the content of the medium phenomenon whilst explaining the reasons for investigating the medium from specific positions in the context of the latest philosophical theories. The authors conclude their inquiry by offering the examination and evaluation of the potential of object-oriented ontologies aimed at characterizing the medium as a type of social object. As the medium's distinctive features are revealed, the authors suggest that interrogating it further is important for improving our understanding of social processes and creating new strategies and technologies of media usage.
-
-
-
Davidson and the language of new media
More LessAbstractThis article claims that attempts to define the language of new media (LNM) as a unique linguistic phenomenon face problems stemming from a definition of language that takes knowledge of linguistic rules to be essential for understanding. I suggest that Davidson's later philosophy of language, as outlined in his 1986 paper 'A nice derangement of epitaphs', and especially his rejection of traditional definitions of language and understanding, offers an enlightening and important insight to the question of how understanding is achieved by the LNM. Although preceding the digital era, I argue that Davidson's redefinition of linguistic understanding as not necessarily rule dependent enables us to better understand our linguistic time in general and the LNM in particular.
-
-
-
Tapping into the senses: Corporeality and immanence in The Piano Tuner of EarthQuakes (Quay Brothers, 2005)
More LessAbstractIn The Piano Tuner of EarthQuakes (2006), the Quay Brothers' second feature, the sensual form and the meta-artistic content are truly interweaved, and the siblings' staple animated materials become part of the theme itself. Using Michel Serres's argument in Les cinq sens (2014, whose subtitle in English is A Philosophy of Mingled Bodies), I address the relationship between the Quays intermedial animation and the way the art forms of music, painting, theatre and sculpture are used to captivate the film viewer's sensorium in the same way that some of the characters are fascinated by the evil Droz, a scientist and failed composer who manipulates machines and people alike, among them Felisberto, a meek piano tuner with the ability to stir the natural elements. I further proceed to posit the entire film as an intended allegory of animation on the Quays part. Their haptic construction of a three-dimensional world which they control artistically is replicated in the film in Droz's and Felisberto's activities vis-à-vis Malvina van Stille, an abducted opera diva who is kept in a suspended animation state (just like a marionette) and several hydraulic automata with musical resounding properties, some of them made up of an uncanny assortment of body parts. The artificial life of these creatures is contrasted, in two ways, with their physical reality as beings that exist in the world: first, via Serres's sensorial strategy to transform a body into a conscious entity (i.e., endowed with a soul), an embodiment I call 'Corpo-Reality', and second, by resorting to Deleuze and Guattari's theory of the body without organs (BwO) in its advocacy of 'hard' nature and the rejection of a rigid assortment of body parts (either biological or social). The paradoxical organic objectivity of the 'marionettized' Malvina is pitted against the seemingly subjective doings of the mechanical automata, especially an android woodcutter. However, just as in the story things are not what they seem, and the automata actually reflect the 'real' world of Felisberto's tuning of them (and vice versa, in a process entitled 'vertical mise en abyme'), so the film itself can be a 'crystal-image' (per Deleuze), offering itself to the senses of the spectator.
-
-
-
Freedom of expression in multicultural societies: Political cartooning in Europe in the modern and postmodern eras
More LessAbstractAt the intersection of modern cultural and political history, security studies and debates about freedom of expression and international human-rights law, this article aims to contribute to a better understanding of political cartooning and its implications in multicultural societies of Europe, which have shifted in a geographical, cultural, normative, communicational, political and many other respects through the last two centuries. Through comparison of the Serbian cartoons from late nineteenth-century Croatia and the recent Danish cartoons of the Prophet Mohammad, the article reveals that both modern and postmodern European cartoons have been centred around equally discriminatory narratives: a 'clash of civilizations' and 'racialization of religion'. Since open racial stereotyping in cartoons became illegal in the postmodern international regulations, traditional discriminatory practices of cartooning have shifted towards subtle, 'liquid' racism. This decodes some of the twelve Danish cartoons as ambiguous strategies of racialization of Muslim immigrants in Europe (as 'terrorists' and 'others') but also as hate speech which is illegal in the European Union, and member states of the Council of Europe. The author concludes that the most current European and international regulations of hate speech, whether concerning offline media or online media, actually protect free speech. While a truly clear-cut regulation of liquid racism might remain problematic in Europe (and the world) due to the lack of a universally accepted definition of hate speech, neither strict legal regulations nor different definitions of hate speech could diminish the role of political cartooning as a viable free speech platform in the multicultural landscape of Europe. Ultimately, what diminishes its viability is the enduring lack of diversity in the creation of visual satire, which could and should reflect the multicultural reality of communities, politics and societies in Europe.
-
-
-
Conciliatory aggression and the rhetoric of public apologies: A rhetorical analysis
More LessAbstractThis article provides a rhetorical analysis of a public apology that was issued by conservative talk radio host Rush Limbaugh in response to criticism of on-air comments that he made in February 2012. I argue that Limbaugh deployed his apology as a plea for moral exoneration, not as a formal admission of misconduct. Hence his apology was meant to absolve Limbaugh from blame by offsetting acknowledgements of wrongdoing (along with expressions of remorse) with an appeal to truth as a force for exculpation.
-