The Unseen Déjà-Vu: From Erkki Huhtamo’s <Emphasis Type="Italic">Topoi</Emphasis> to Ken Jacobs’ Remakes

This commentary on Edwin Carels’ essay “Revisiting Tom Tom: Performative anamnesis and autonomous vision in Ken Jacobs’ appropriations of Tom Tom the Piper’s Son” broadens up the media-archaeological framework in which Carels places his text. Notions such as Huhtamo’s topos and Zielinski’s “deep time” are brought into the discussion in order to point out the difficulty to see what there is to see and to question the position of the viewer in front of experimental films like Tom Tom the Piper’s Son and its remakes.     

Heidegger on <Emphasis Type="Italic">Verfallenheit</Emphasis>

The question of Heidegger’s reflections on technology is explored in terms of ‘living with’ technology and including the socio-theoretical (Edinburgh) notion of ‘entanglement’ towards a review of Heidegger’s understanding of technology and media, including the entertainment industry and modern digital life. I explore Heidegger’s reflections on Gelassenheit by way of the Japanese aesthetic conception of life and of art as wabi-sabi understood with respect to Heidegger’s Gelassenheit as the art of Verfallenheit.     

Revisiting <Emphasis Type="Italic">Tom Tom:</Emphasis> Performative Anamnesis and Autonomous Vision in Ken Jacobs’ Appropriations of <Emphasis Type="Italic">Tom Tom the Piper’s Son</Emphasis>

In 1969 the American avant-garde filmmaker Ken Jacobs gained wide recognition with a two-hour long interpretation of a 1905 silent short film. Ever since, the artist has kept on revisiting the same material, each time with a different technological approach. Originally hailed as a prime example of structural filmmaking, Jacobs’ more recent variations on the theme of Tom Tom the Piper’s Son beg for a broader understanding of his methods and the meanings implied. To gain a deeper insight in this on-going mise-en-abyme (and an obsession dominating a large part of his career), this essay expands comments by the artist himself with concepts taken from animation, media-archaeology and Warburg’s Mnemosyne atlas. Rereading a filmic text with minute attention, remediating it from an analogue to an electronic format, and reanimating the original action by adding a variety of intervals: all Jacobs’ strategies are aimed at demonstrating the afterlife of Tom Tom in a contemporary cultural context.     

Bolzano’s Infinite Quantities

In his Foundations of a General Theory of Manifolds, Georg Cantor praised Bernard Bolzano as a clear defender of actual infinity who had the courage to work with infinite numbers. At the same time, he sharply criticized the way Bolzano dealt with them. Cantor’s concept was based on the existence of a one-to-one correspondence, while Bolzano insisted on Euclid’s Axiom of the whole being greater than a part. Cantor’s set theory has eventually prevailed, and became a formal basis of contemporary mathematics, while Bolzano’s approach is generally considered a step in the wrong direction. In the present paper, we demonstrate that a fragment of Bolzano’s theory of infinite quantities retaining the part-whole principle can be extended to a consistent mathematical structure. It can be interpreted in several possible ways. We obtain either a linearly ordered ring of finite and infinitely great quantities, or a partially ordered ring containing infinitely small, finite and infinitely great quantities. These structures can be used as a basis of the infinitesimal calculus similarly as in non-standard analysis, whether in its full version employing ultrafilters due to Abraham Robinson, or in the recent “cheap version” avoiding ultrafilters due to Terence Tao.     

The Documentary Surreal: Film and Painting in Luciano Emmer’s <Emphasis Type="Italic">La Leggenda di Sant’Orsola</Emphasis> (1948) and Henri Storck’s <Emphasis Type="Italic">Le Monde de Paul Delvaux</Emphasis> (1946)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art was self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola (1948) by Luciano Emmer and Le Monde de Paul Delvaux (1946) by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices.     

Love and Realism

In this reply I try to show that, contrary to Milberry’s apparent assertion, the general intellect of the multitude does not have the explanatory robustness she accredits to it (following both Virno and the Hardt and Negri of the Empire trilogy). Digital network technologies are currently overwhelmingly effective in proletarianizing and disempowering the cognitariat and only an active technopolitics of deproletarianization could reverse this hegemonic situation. In my response to Verbeek, I attempt to correct his misinterpretation (shared by Milberry) of the Stieglerian approach as being dialectical in nature and show that, far from reinstating the humanist dichotomy between human beings and technologies, my analysis assumes their original, albeit fundamentally ambiguous and even ‘uncanny’ [unheimlich] interconnection. I conclude with pointing out some implications of this view for a ‘really realistic’ political theory of technology.     

On Living with Technology through Renunciation and Releasement

Marc Van den Bosche suggests that Heidegger’s conceptions of Gestell and Gelassenheit, taken together with his analysis of Nietzschean Nihilism (interpreted especially by Wolfgang Schirmacher), depicts our era in a way that “supplements” Andrew Feenberg and Don Ihde’s work. Weaving these sources together, he sees the possibility of our becoming (quoting Schirmacher) “technicians” that “live, in a released way, within the groundless.” Here, I raise some questions about whether the author has really fitted all these sources together and argue that his idea of becoming post-modern “technicians” appears to require that we first practice a very un-Heideggerian kind of “renunciation.”     

Approximation,Mad Men and the Death of JFK

In this article I take the US television series Mad Men (2007—present) as an exemplary ‘approximation’, a term I adopt to signal the way in which certain texts construct a changeable, fluid ‘truth’ resulting from collisions, exchange and dialectical argument. Approximations are layered, their formal layerings mirroring a layered, multifaceted argument. Mad Men integrates and represents real historical events within a fictional setting, and act that suggests that an event or action can never be finished, fixed and not open to reassessment. Specifically, this article examines ‘The Grown Ups’, Episode 12 of Season 3, which charts the events of 22 November 1963, the day Kennedy was assassinated. Although we might be able to bring to mind the images and conspiracy theories that have been made available since (such Abraham Zapruder’s 8 mm home movie footage of the assassination), these images were not available at the time. Mad Men as a series always strives to represent its historical milieu as authentically as possible, so the characters re-enact 22 November 1963 as authentically as possible by watching only what was on television that day (the news bulletin, Walter Kronkite’s announcement that Kennedy is dead). The contemporary backdrop to these events, including the resonances of ‘9/11’ through Mad Men, inform and collide with the authenticity on the screen.     

The Abductive Loop: Tracking Irrational Sets

We argue from the Church-Turing thesis (Kleene Mathematical logic. New York: Wiley 1967) that a program can be considered as equivalent to a formal language similar to predicate calculus where predicates can be taken as functions. We can relate such a calculus to Wittgenstein’s first major work, the Tractatus, and use the Tractatus and its theses as a model of the formal classical definition of a computer program. However, Wittgenstein found flaws in his initial great work and he explored these flaws in a new thesis described in his second great work; the Philosophical Investigations. The question we address is “can computer science make the same leap?” We are proposing, because of the flaws identified by Wittgenstein, that computers will never have the possibility of natural communication with people unless they become active participants of human society. The essential difference between formal models used in computing and human communication is that formal models are based upon rational sets whereas people are not so restricted. We introduce irrational sets as a concept that requires the use of an abductive inference system. However, formal models are still considered central to our means of using hypotheses through deduction to make predictions about the world. These formal models are required to continually be updated in response to peoples’ changes in their way of seeing the world. We propose that one mechanism used to keep track of these changes is the Peircian abductive loop.     

Comments on Indivisibles and Infinitesimals: A Response to David Sherry,by Amir Alexander: In View of the Original Book

A set of six publications have introduced, commented, criticized and defended Amir Alexander’s book on infinitesimals published in 2014. The aim of the following article is to bring the various arguments together.     

Social Autonomy and Heteronomy in the Age of ICT: The Digital <Emphasis Type="Italic">Pharmakon</Emphasis> and the (Dis)Empowerment of the General Intellect

‘The art of living with ICTs (information and communication technologies)’ today not only means finding new ways to cope, interact and create new lifestyles on the basis of the new digital (network) technologies individually, as ‘consumer-citizens’. It also means inventing new modes of living, producing and, not in the least place, struggling collectively, as workers and producers. As the so-called digital revolution unfolds in the context of a neoliberal cognitive and consumerist capitalism, its ‘innovations’ are predominantly employed to modulate and control both production processes and consumer behavior in view of the overall goal of extracting surplus value. Today, the digital networks overwhelmingly destroy social autonomy, instead engendering increasing social heteronomy and proletarianization. Yet it is these very networks themselves, as technical pharmaka in the sense of French ‘technophilosopher’ Bernard Stiegler, that can be employed as no other to struggle against this tendency. This paper briefly explores this possibility by reflecting upon current diagnoses of our ‘technological situation’ by some exemplary post-operaist Marxists from a Stieglerian, pharmacological perspective.     

The Documentary Real and the Shoah

Without the support of imagination, one would not have the slightest idea of the cruel ‘real’ that has occurred in the Nazi extermination camps. Yet, in documentaries imaging the events of the Shoah, one runs the risk of missing their most basic property, namely their unimaginability. The mere idea that one is able to imagine the unimaginable comes down to a denial of the Shoah’s status as an event that defies our understanding. The unimaginable ‘real’ of the Shoah, however, is not simply located in its object, in the cruelty of what happened in the camp. The Shoah makes us at the same time facing the unimaginable ‘real’ of the modern subject—the blind spot in our own identity. If we need imagination to deal with the Shoah, it is also because of an ungraspable ‘real’ in ourselves. This is why adequate Shoah representations, acknowledging their object as being beyond representation, include the same ‘beyond’ concerning the subject of the Holocaust memory. The essay makes this clear in an elaborated comparison of Claude Lanzmann’s 1985 film, Shoah, with some conceptual works of art from the late nineties—all of this ‘fine-tuned’ in a reflection upon Ingmar Bergman’s Persona.     

The Infinite Turn and Speculative Explanations in Cosmology

Infinity, in various guises, has been invoked recently in order to ‘explain’ a number of important questions regarding observable phenomena in science, and in particular in cosmology. Such explanations are by their nature speculative. Here we introduce the notions of relative infinity, closure, and economy of explanation and ask: to what extent explanations involving relative or real constructed infinities can be treated as reasonable?     

The Perspective of the Instruments: Mediating Collectivity

Numerous studies in the fields of Science and Technology Studies (STS) and philosophy of technology have repeatedly stressed that scientific practices are collective practices that crucially depend on the presence of scientific technologies. Postphenomenology is one of the movements that aims to draw philosophical conclusions from these observations through an analysis of human–technology interactions in scientific practice. Two other attempts that try to integrate these insights into philosophy of science are Ronald Giere’s Scientific Perspectivism (2006) and Davis Baird’s Thing Knowledge (2004). In this paper, these two approaches will be critically discussed from the perspective of postphenomenology. We will argue that Giere and Baird problematically assume that scientific instruments (a) have a determined function, and (b) that all human members of a scientific collective have immediate access to this function. However, these assumptions also allow them to offer a clear answer to the question how scientists can collectively relate to scientific phenomena. Such an answer is not yet (explicitly) formulated within the postphenomenological perspective. By adding a postphenomenological touch to the semiotic approach in Actor-Network Theory, we offer an account of how different individual human–technology relations are integrated into larger scientific collectives. We do so by showing that scientific instruments not only help constitute scientific phenomena, but also the intersubjectivity within such collectives.     

Cauchy’s Infinitesimals,His Sum Theorem,and Foundational Paradigms

Cauchy's sum theorem is a prototype of what is today a basic result on the convergence of a series of functions in undergraduate analysis. We seek to interpret Cauchy’s proof, and discuss the related epistemological questions involved in comparing distinct interpretive paradigms. Cauchy’s proof is often interpreted in the modern framework of a Weierstrassian paradigm. We analyze Cauchy’s proof closely and show that it finds closer proxies in a different modern framework.     

The Jesuits and the Method of Indivisibles

Alexander’s Infinitesimal is right to argue that the Jesuits had a chilling effect on Italian mathematics, but I question his account of the Jesuit motivations for suppressing indivisibles. Alexander alleges that the Jesuits’ intransigent commitment to Aristotle and Euclid explains their opposition to the method of indivisibles. A different hypothesis, which Alexander doesn’t pursue, is a conflict between the method of indivisibles and the Catholic doctrine of the Eucharist. This is a pity, for the conflict with the Eucharist has advantages over the Jesuit commitment to Aristotle and Euclid. The method of indivisibles was a method that developed in the course of the seventeenth century, and those who developed ‘beyond the Alps’ relied upon Aristotelian and Euclidean ideals. Alexander’s failure to recognize the importance of Aristotle and Euclid for the development of the method of indivisibles arises from an unwarranted conflation of indivisibles and infinitesimals (Sect. 2). Once indivisibles and infinitesimals are distinguished, we observe that the development of the method of indivisibles exhibits an unmistakable sympathy for Aristotle and Euclid (Sect. 3). Thus, it makes sense to consider an alternative explanation for the Jesuit abhorrence of indivisibles. And indeed, indivisibles but not infinitesimals conflict with the doctrine of the Eucharist, the central dogma of the Church (Sect. 4).     

Toward a History of Mathematics Focused on Procedures

Abraham Robinson’s framework for modern infinitesimals was developed half a century ago. It enables a re-evaluation of the procedures of the pioneers of mathematical analysis. Their procedures have been often viewed through the lens of the success of the Weierstrassian foundations. We propose a view without passing through the lens, by means of proxies for such procedures in the modern theory of infinitesimals. The real accomplishments of calculus and analysis had been based primarily on the elaboration of novel techniques for solving problems rather than a quest for ultimate foundations. It may be hopeless to interpret historical foundations in terms of a punctiform continuum, but arguably it is possible to interpret historical techniques and procedures in terms of modern ones. Our proposed formalisations do not mean that Fermat, Gregory, Leibniz, Euler, and Cauchy were pre-Robinsonians, but rather indicate that Robinson’s framework is more helpful in understanding their procedures than a Weierstrassian framework.     

Releasement and Nihilism in the Art of Living with Technology

In this contribution the author tries to formulate an approach to the art of living with technology based on Heidegger’s The Principle of Reason, a work often overlooked by contemporary commentators in the philosophy of technology. This approach couples the concept of releasement to insights hailing from Wolfgang Schirmacher concerning Heidegger’s nihilism.