Open Access (free)
Stirner, anarchy, subjectivity and the art of living
John Moore

existential and ontological concern and one rich in implication for the definition of contemporary anarchist practice, activity and projects. Central to this process is the issue of anarchist subjectivity and intersubjectivity, as well as related concerns about language and creativity. Hakim Bey, language and ontological anarchy Hakim Bey’s essay ‘Ontological anarchy in a nutshell’ (1994) provides a concise but landmark formulation of this issue. The opening passage of the essay focuses on the existential status of the anarchist and anarchist practice: Since absolutely

in Changing anarchism
The short films (2010–11)
Deborah Martin

shared concern with fluid ontologies and becom­ ings, where the formlessness of water is suggestive of an opposition to established forms, recalling the meanings often assigned to water in myth.1 In Cinema 2, Deleuze observes the ‘liquid quality which […] marks the visual image in Marguerite Duras’, a quality which he sees in ‘the tropical Indian humidity which rises from the river, but which spreads out on the beach and in the sea as well [in India Song]’ and in ‘the dampness of Normandy which already drew Le camion from the Beauce to the sea […]’ (1989, 248). Such

in The cinema of Lucrecia Martel
Andrew Patrizio

related trajectories are already too large, diverse and dynamically expanding to attempt anything other than a selective exercise. It is one, though, that might suggest some of the most productive methodological and ontological routes for an ecocritical art history to come. There are many prehistories to new materialism to be found in Eastern and Western philosophies (from Lucretius, Epicurus, Spinoza and Zen Buddhism) that cannot be adequately described here but certainly form a bedrock of intellectual formations that are often drawn on by contemporary writers

in The ecological eye
Objects, affects, mimesis
Simon Mussell

3 A feeling for things: objects, affects, mimesis And things, what is the correct attitude to adopt towards things? –​Samuel Beckett, The Unnameable Recent years have seen an explosion of scholarly interest in things. From the ‘new materialisms’ to ‘object-​oriented ontology’, from ‘thing theory’ to ‘actor-​ network theory’, much of contemporary thought is turning its attention to the world of objects. What are the reasons for this shift? One of the principal motivations behind the turn to objects is a reaction against the ‘cultural turn’ and its subject

in Critical theory and feeling
The cultural politics of Hill’s later work
Alex Wylie

to resist –​and working hard is the whole point. The belletrism of Eliot, say, emerging from that late-​V ictorian and Edwardian culture of letters, draws credit on the authority of the figure of the author, the public intellectual: a cultural power which has also been eroded over the past sixty or so years along with conceptions of genius and craft. Difficulty and the ontological If one was so inclined, one might symbolise Hill’s earlier and later periods with his two translations of Ibsen plays –​Brand of 1978, and The cultural politics of Hill’s later

in Geoffrey Hill’s later work
Elizabeth Dauphinée

for my trip. I arrived with a few local contacts and a decent grasp of the language. I thought that, because of this background, I was more uniquely placed to experience and appreciate a more authentic ‘truth’ of Bosnia than most researchers ever see. That sentiment quickly faded, and after several years of passing back and forth, I began to see that the arrogance of that sentiment was not antithetical to the violence I was researching. Ethics In Ethics as First Philosophy, Emmanuel Levinas argues that the ontological structure of knowledge always already involves a

in The ethics of researching war
Open Access (free)
Shane Weller

the 1930s), Democritus and Geulincx take diametrically opposed positions on what may be termed the ontological nothing. Whereas for the former the nothing exists (as the ‘void’ separating the ‘atoms’), for the latter the nothing (as ‘vacuum’) is quite simply ‘impossible’.2 In his dismissal – as ‘an utterly silly opinion’ – of the Scholastics’ claim that space is nothing (nihil, nihilum), Geulincx follows Descartes and ultimately Parmenides.3 That said, unlike the Democritean ‘naught’, the Geulincxian ‘nihil’ to which Beckett refers in his letter to Kennedy is not an

in Beckett and nothing
Anastasia Marinopoulou

sciences. As with all social actions of conscious subjects, the sciences for Weber function in a rational way not only because they reflect upon their own means and ends, but mostly because they also bear the infinite potential to reveal the consequences of their social character, addressing themselves as well as society itself. The triangle of means, ends and consequences, embracing the sciences in Weber’s work, establishes a solid social ontology for the sciences, and attributes to society an instigative role with regard to the scientific oeuvre. For there to be any

in Critical theory and epistemology
Ontological coordination and the assessment of consistency in asylum requests
Bruno Magalhães

). How assessments of inconsistency manage to achieve truth-value is the main puzzle that concerns me here. The argument put forward in this chapter is twofold. First, I borrow the notion of ontological coordination from the work of Dutch philosopher Annemarie Mol (1999, 2002a) to spell out a further reason to doubt the use of inconsistency as justification for denial. I argue

in Security/ Mobility
Barbara Balfour

educational manuals to ostensibly critical texts, have amply covered this territory. My reflections on the what of print will entail an ontological and material consideration of what can be construed as the medium specificity of this already multiple set of media, while my contemplation of the why of print will address the possible sets of reasons behind one's adoption of

in Perspectives on contemporary printmaking