Mimesis stories: composing new nature music for the shakuhachi

Nature is a widespread theme in much new music for the shakuhachi (Japanese bamboo flute). This article explores the significance of such music within the contemporary shakuhachi scene, as the instrument travels internationally and so becomes rooted in landscapes outside Japan, taking on the voices of new creatures and natural phenomena. The article tells the stories of five compositions and one arrangement by non-Japanese composers, first to credit composers’ varied and personal responses to this common concern and, second, to discern broad, culturally syncretic traditions of nature mimesis and other, more abstract, ideas about the naturalness of sounds and creative processes (which I call musical naturalism). Setting these personal stories and longer histories side by side reveals that composition creates composers (as much as the other way around). Thus it hints at much broader terrain: the refashioning of human nature at the confluence between cosmopolitan cultural circulations and contemporary encounters with the more-than-human world

The theatre and its screen double

This essay offers a close exploration of the live filming and sound production in the schaubühne berlin staging of strindberg's Fräulein Julie (directed by Katie Mitchell, shown on tour at the barbican, london, in 2012). It provides a series of theoretical and critical angles from which to discuss contemporary intermedia performance and audiovisual scenography. After a brief evocation of Artaud's writings in "theatre and cruelty" and on raw cinema, the essay builds on a historical understanding of Western theatre's evolving and hardly settled relationship to cinematography and moving-image technologies, as well as the "choreographic unconscious," as examined in contemporary dance and technology, before delving into an analysis of Mitchell's dramaturgy of real-time film construction and her use of the "camera-actor." A particular emphasis is placed on the question whether the live mediatization of realist drama, under Mitchell's direction, deliberately weakens the theatricality of the physical body and spoken language while proffering an extenuated, if uncritical/unpolitical modulation of digital prosthetics in a superbly crafted, seamless intermedial performance

Temporal naturalism

Two people may claim both to be naturalists, but have divergent conceptions of basic elements of the natural world which lead them to mean different things when they talk about laws of nature, or states, or the role of mathematics in physics. These disagreements do not much affect the ordinary practice of science which is about small subsystems of the universe, described or explained against a background, idealized to be fixed. But these issues become crucial when we consider including the whole universe within our system, for then there is no fixed background to reference observables to. I argue here that the key issue responsible for divergent versions of naturalism and divergent approaches to cosmology is the conception of time. One version, which I call temporal naturalism, holds that time, in the sense of the succession of present moments, is real, and that laws of nature evolve in that time. This is contrasted with timeless naturalism, which holds that laws are immutable and the present moment and its passage are illusions. I argue that temporal naturalism is empirically more adequate than the alternatives, because it offers testable explanations for puzzles its rivals cannot address, and is likely a better basis for solving major puzzles that presently face cosmology and physics. This essay also addresses the problem of qualia and experience within naturalism and argues that only temporal naturalism can make a place for qualia as intrinsic qualities of matter

Recreating Reality: Waltz With Bashir, Persepolis, and the Documentary Genre

This paper examines Ari Folman’s Waltz With Bashir (2008) and Marjane Satrapi’s Persepolis (2007) to elucidate how artists, distributors, and audiences shape and define the porous boundaries of the documentary genre, and how such perceptions are shaped within a digital context. By analyzing how each film represents reality; that is, how documentaries attempt to represent the real world, this paper explores the elements of performativity within animated documentary as a reflection of both the growing fluidity of the documentary genre and the instability of the indexical in a digital age. In a digital context, where the “real” can be manufactured at an increasing rate, stronger skepticism and cynicism push the documentary genre towards more subjective explorations, with animated documentaries serving as a key example of how genre distinctions have fluctuated in response

Nietzsche as a Critic of Genealogical Debunking: Making Room for Naturalism without Subversion

This paper argues that Nietzsche is a critic of just the kind of genealogical debunking he is popularly associated with. We begin by showing that interpretations of Nietzsche which see him as engaging in genealogical debunking turn him into an advocate of nihilism, for on his own premises, any truthful genealogical inquiry into our values is going to uncover what most of his contemporaries deem objectionable origins and thus license global genealogical debunking. To escape nihilism and make room for naturalism without indiscriminate subversion, we then argue, Nietzsche targets the way of thinking about values that permits genealogical debunking: far from trying to subvert values simply by uncovering their origins, Nietzsche is actively criticising genealogical debunking thus understood. Finally, we draw out the consequences of our reading for Nietzsche’s positive vision

On Laruelle and the Radical Dyad: Katerina Kolozova's Materialist Non-Humanism

As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics and feminist critique, such as Bogna Konior, Yvette Granata, Jonathan Fardy and John Ó Maoilearca. Within this variegated assemblage, Kolozova’s most recent project, Capitalism’s Holocaust of Animals(2019), saliently reconciles and radicalizes Haraway’s epochal dyad of the “inhuman”—a bifurcation riven by technology on one node and the animal on the other—by a resolution of superlative unity. This methodology, adhering to Laruelle’s system of“synthesis-without-synthesizing” attempts to dissolve the spectral chimeras that have haunted philosophy’s metaphysical heredity, proffering a generic identity

Science, thought and nature: Hegel’s completion of Kant’s idealism [Special Issue]

Focusing on Hegel’s engagement with Kant’s theoretical philosophy, the paper shows the merits of its characterisation as “completion”. The broader aim is to offer a fresh perspective on familiar historical arguments and on contemporary discussions of philosophical naturalism by examining the distinctive combination of idealism and naturalism that motivates the priority both authors accord to the topics of testability of philosophical claims and of the nature of the relation between philosophy and the natural science. Linking these topics is a question about how the demands of unification—imposed internally, relative to conceptions of the proper conduct of philosophical enquiry—can accommodate realism, a key element in establishing disciplinary parity between philosophy and the natural sciences. The distance that ultimately marks Kant’s and Hegel’s answers to this question justifies the interpretative claim about completion, while the conceptual patterns exemplified in the posing of the question and in their shared assumptions about its philosophical importance justifies the reconstructive claim about “idealist naturalism