The redemption of the gaze: the crisis of observation in the "fin de siècle" and the advent of cinema

The intention of this article is not to affirm, but rather to question wether it is possible to speak of a loss of the ability to gaze in the context of the nineteenth century and especially in the context of the fin de siècle, in the bosom of the epistemological crisis that beset the Turn of the Century. And very especially, this article tries to question about the impact this crisis had, perhaps, in the birth of cinema. Is in this context that arises the work of Marey and the advent of the cinematograph of the Lumière brothers in the fin de siècle Europe, both of them showing a deep faith in a mechanical apparatus that would allow the redemption of a battered gaze. And it seems to be a dream that continues over time through the tradition of shooting the everyday life.

“La littérature est la seule patrie”: Nabile Farès and the Poetry of Postcolonial Displacment

Nabile Farès is a key author within postcolonial studies, due in particular to his uniquely expressive writing style. This article discusses writing style in his 1982 text, L’état perdu: précédé du discours pratique de l’immigré. Throughout the mainly French text, different alphabets are woven, alluding to the complexity of Algerian linguistic history and the importance of language in the construction and expression of identity. Meanwhile, the grammar and structure of the French language seems confused and at times illogical, raising further questions about use of a colonial language in a postcolonial context. Farès’s writing style is avant-garde in nature, and deliberate intertextuality with the Surrealists situates the text within an avant-garde tradition in the French language, developing new ideas surrounding the effect of this written genre in the aftermath of colonialism.

Parker Morris and the economies of the Fordist house

The Parker Morris report of 1961 attempted, through the application of scientific principles, to define the minimum living space standards needed to accommodate household activities. But while early modernist research into ideas of existenzminimum were the work of avant-garde architects and thinkers, this report was commissioned by the British State. This normalization of scientific enquiry into space can be considered not only a response to new conditions in the mass production of housing – economies of scale, prefabrication, system-building and modular coordination – but also to the post-war boom in consumer goods. The domestic interior was assigned a key role as a privileged site of mass consumption as the production and micro-management of space in Britain became integral to the development of a planned national economy underpinned by Fordist principles. The apparently placeless and scale-less diagrams executed by Gordon Cullen to illustrate Parker Morris emblematize these relationships. Walls dissolve as space flows from inside to outside in a homogenized and ephemeral landscape whose limits are perhaps only the boundaries of the nation state and the circuits of capital.

Decadent Conservatism: Politics and Aesthetics in The Senate

The relationship between late-Victorian Decadence and Aestheticism and politics has long been vexed. This article explores the hitherto under-explored confluence of conservatism and avant-garde literature in the period by introducing The Senate, a Tory-Decadent journal that ran from 1894-7. While Decadent authors occupied various political positions, this article argues that The Senate offers a crucial link between conservatism and Decadence The article presents the journal in its political and publishing context, outlining its editorial position on such issues as the Liberal Unionist-Conservative coalition governments, Britain's relationship with Europe and the threat of ‘State Socialism’, as well as its valorisation of Bollingbroke and eighteenth-century Toryism, and its relationship to, and difference from, key Decadent journals the Yellow Book and The Savoy. It then goes on to articulate its relationship to Decadence by focussing on the presence of Paul Verlaine in its pages and its vitriolic response to the press coverage of Oscar Wilde's trials. The article concludes by exploring the surprising wake of The Senate, briefly tracing the editors' influence in the development of Modernism and links with the journal BLAST.

Parker Morris and the Fordist House

6.00 pm. If people like watching T.V. while they are eating their evening meal, space for a low table is needed (Ministry of Housing and Local Government, Space in the Home, 1963, p. 4).

This paper re-examines the 1961 Parker Morris report on housing standards in Britain. It explores the origins, scope, text and iconography of the report and suggests that these not only express a particularly modernist conception of space but one which presupposed very specific economic conditions and geographies.

Also known as Homes for Today and Tomorrow Parker Morris attempted, through the application of scientific principles, to define the minimum living space standards needed to accommodate household activities. But while early modernist research into notions of existenzminimum were the work of avant-garde architects and thinkers, Homes for Today and Tomorrow and its sister design manual Space in the Home were commissioned by the British State. This normalization of scientific enquiry into space can be considered not only as a response to new conditions in the mass production of housing – economies of scale, prefabrication, system-building and modular coordination – but also to the post-war boom in consumer goods. In this, it is suggested that the domestic interior was assigned a key role as a privileged site of mass consumption as the production and micro-management of space in Britain became integral to the development of a planned national economy underpinned by Fordist principles. Parker Morris, therefore, sought to accommodate activities which were pre-determined not so much by traditional social or familial ties but rather by recently introduced commodities such as the television set, white goods, table tennis tables and train sets. This relationship between the domestic interior and the national economy are emblematized by the series of placeless and scale-less diagrams executed by Gordon Cullen in Space in the Home. Here, walls dissolve as space flows from inside to outside in a homogenized and ephemeral landscape whose limits are perhaps only the boundaries of the nation state and the circuits of capital.

In Britain, Parker Morris was the last explicit State-sponsored attempt to prescribe a normative spatial programme for national living. The calm neutral efficiency of family-life expressed in its diagrams was almost immediately problematised by the rise of 1960s counter-culture, the feminist movement and the oil crisis of 1972 which altered perhaps forever the spatial, temporal and economic conditions it had taken for granted. The debate on space-standards, however, continues.

Remedios Varo's Feminine, Spiritual Quest

Remedios Varo occupies a marginal position in the Surrealist canon, despite her direct involvement with Breton’s circle and in spite of the fact that her work is attributed a universal significance. It has been interpreted as representing a journey towards identity and freedom, a search for female empowerment, and as a spiritual quest. Moreover, critical focus on the mythic/exoteric ‘female’ quest has been to the detriment of the mystical/esoteric significance of the paintings. This article argues that it is in the combination of these strands that Varo’s radicalism might be found. It shows that by presenting a female, spiritual quest for enlightenment—which exists apart from a traditionally male-dominated, western religious schema—Varo circumvented her ordained role within the artistic, spiritual, and political communities of which she was a part.

Conversions of Relief: on the perception of depth in drawings

Of the many ways in which depth can be intimated in drawings, perspective has undoubtedly been one of the most frequently examined. But there is also an equally rich history associated with other forms of pictorial representation. Alternatives to perspective became particularly significant in the early twentieth century as artists and architects, intent on throwing off the conventions of their predecessors, looked to new ways of depicting depth. In architecture, this tendency was exemplified by Modernism’s preference for parallel projection – most notably axonometric and oblique. The use of these techniques gave architects the opportunity to convey a new and uniquely modern form of spatial expression. At once shallow and yet expansive, a key feature of these drawings was their ability to support perceptual ambiguity. This paper will consider the philosophy and science of vision, out of which these preoccupations emerged. In this context, the nineteenth-century discovery of stereopsis and the invention of the stereoscope will be used to illustrate the way in which attempts to test the limits of spatial perception led to an opening up of visual experience; and provided a definition of visual experience that could encompass the representational ambiguities later exploited by the early twentieth-century avant-garde.

A internet e o sistema de justiça

The subject of study of this Thesis aims to highlight and recognize as an object of reflection the undoubted relationship between the Internet and the Justice System, based on the issue of digital evidence. The simultaneously crossing of the juridical-legal implications and the more technical computer issues is the actual trigger for the discussion of the issues established. The Convention on Cybercrime of the Council of Europe of 23rd November 2001 and the Council Framework Decision n.° 2005/222/JHA of 24th February 2005 were avant-garde in terms of the international work about the crimes in the digital environment. In addition they enabled the harmonization of national legislations on the matter and, consequently, a greater flexibility in international judicial cooperation. Portugal, in compliance with these international studies, ratified, implemented and approved Law n. º 109/2009 of 15th September concerning the Cybercrime Act, establishing a more specific investigation and collection of evidence in electronic support when it comes to combating this type of crime, as it reinforced the Substantive Criminal Law and Procedural Nature. Nevertheless, the constant debates about the New Technologies of Information and Communication have not neglected the positive role of these tools for the user. However, they express a particular concern for their counterproductive effects; a special caution prevails on the part of the judge in assessing the digital evidence, especially circumstantial evidence, due to the its fragility. Indisputably, the practice of crimes through the computer universe, given its inexorable technical complexity, entails many difficulties for the forensic investigation, since the proofs hold temporary, changeable, volatile, and dispersed features. In this pillar, after the consummation of iter criminis, the Fundamental Rights of the suspects may be debated in the course of the investigation and the construction of iter probatorium. The intent of this Thesis is to contribute in a reflective way on the issues presented in order to achieve a bigger technical and legal awareness regarding the collection of digital proof, looking for a much lighter approach to its suitability in terms of evidentiary value.

Daniel Weinstock interviews Lisa Eckenwiler and Chris Macdonald -- music by General International

Daniel Weinstock, director of CRÉUM, interviews two professors that were invited to pursue their work at CRÉUM during the summer of 2008. His invitees are Lisa Eckenwiler, Associate Professor of Philosophy in the Department of Philosophy and in the Department of Health Administration and Policy at George Mason University; and Chris Macdonald, Associate Professor of Philosophy at Saint Mary’s University in Halifax. You will also hear General International, an experimental/avant-garde music band that was formed only a few months ago.

Wirklichkeit und Fiktion : Alfred Döblins „Tatsachenphantasie“ in seinem historischen Roman „November 1918“

Thèse réalisée en co-tutelle avec l'Université Libre de Berlin, Institut für Deutsche und Niederländische Philologie

Généalogie des résistances cinématographiques : le cas de trois machines autopoïétiques (Eisenstein, Syberberg, Welles)

Notre thèse s’attache à définir certains rapports possibles entre le cinéma et le politique ou, plus précisément, entre le cinéma et le concept pratique de résistance. Il existe une théorie de la résistance, soit sous la forme d’une cartographie du pouvoir moléculaire (M. Foucault), soit sous la forme d’une analytique de la résistance (F. Proust). Il existe également une théorie de la résistance cinématographique, soit comme sociologie ou histoire de l’action politique par le cinéma (cinéma de la Résistance, cinéma militant), soit comme une sémiotique des formes et des genres marginaux (cinéma expérimental, cinéma des avant-gardes). Suivant une direction tracée par Serge Daney et Gilles Deleuze, nous croyons qu’il faut poser autrement le problème : si « le politique est affaire de perception », alors la résistance est d’abord une invention de visibilité et d’audibilité. En ce sens, la résistance cinématographique est une exploration de ce que peut le cinéma, tant d’un point de vue esthétique, éthique, que politique. D’où notre hypothèse, qui est double : d’une part, cette invention de visibilité, cette création de potentiel n’est peut-être possible qu’en passant par un ré-enchaînement anachronique d’une déformation plastique, narrative et audiovisuelle à une autre, c’est-à-dire d’une survivance à une autre. D’autre part, nous croyons qu’une forme esthétique est en soi matière politique et manière de politique, et qu’elle implique également une éthique venant brasser notre propre subjectivité (de cinéaste, de spectateur, de citoyen, etc.). Or, pour saisir cette invention de visibilité inhérente au cinéma, il faut en passer par une généalogie de certaines alliances théoriques et pratiques parmi les plus importantes. Le cas de trois machines autopoïétiques nous intéressera tout particulièrement, trois constellations d’œuvres et de pensées qui débordent le nom propre des « Auteurs » convoqués : Eisenstein et les résistances méthodologiques ; Syberberg et les résistances plastiques ou audiovisuelles (à travers la seule figure du hors-champ) ; Welles et les résistances esth/éthico-politiques. Ainsi, une telle chaîne généalogique nous permettra de mieux mesurer l’efficace de ces résistances, mais sans désir de systématisation ni constitution d’une Théorie de la résistance cinématographique.