Filozofija Ne-ja. Predgovor. Filozofska misel in znanstveni duh

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Mi lámpara y mi papel blanco

When you remember a far past of work, when you rethink the numerous, but monotonous, images of the stubborn worker, reading and meditating under the lamp, you begin to live as if you were the only character in a painting. A piece with faded walls and as tight on its center, concentrated around the man who thinks, sitting at the table illuminated by the lamp. During its long life, the table has received a thousand variants, but retains its unity, its central life. Now it is a constant image in which memories and dreams merge. The dreamer concentrates on her to remember the man who works. It comforts and longs for the piecitas where you worked, where you had the energy to work well. The real space of solitary work is, in a small room, the circle illuminated by the lamp. Jean de Boschére knew this when he wrote: Only in a small room can work be done. And the work lamp concentrates the room in the dimensions of the table. How the lamp of yesteryear, in my memories, concentrated the piece, restored the loneliness of courage, my loneliness as a workerCuando se recuerda un lejano pasado de trabajo, cuando se repiensan las numerosas, pero monótonas, imágenes del trabajador obstinado, leyendo y meditando bajo la lámpara, uno empieza a vivir como si fuera el personaje único de un cuadro. Una pieza con muros desvaídos y como apretados sobre su centro, concentrada en torno del hombre que piensa, sentado ante la mesa iluminada por la lámpara. Durante su larga vida, la mesa ha recibido mil variantes, pero conserva su unidad, su vida central. Ahora es una imagen constante en la que se funden los recuerdos y los sueños. El soñador se concentra en ella para recordar al hombre que trabaja. Se reconforta y añora las piecitas donde se trabajaba, en las que tenía la energía para trabajar bien. El verdadero espacio del trabajo solitario es, en una habitación pequeña, el círculo iluminado por la lámpara. Jean de Boschére sabía esto cuando escribió: Sólo en una habitación exigua se puede trabajar. Y la lámpara de trabajo concentra la habitación en las dimensiones de la mesa. ¡Cómo la lámpara de antaño, en mis recuerdos, concentraba la pieza, restablecía las soledades del coraje, mi soledad de trabajador

Bistvena kompleksnost znanstvene filozofije. Oris

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Monstrous Domesticity – Home as a Site of Oppression in Crimson Peak

This paper begins by offering a brief overview of the popular culture narrative Crimson Peak (2015), directed by Guillermo del Toro. The analysis focuses on the most compelling Gothic trope del Toro reintroduces, the proverbial mansion, simultaneously displaying Freud’s heimlich and unheimlich elements, oppressing and liberating its inhabitants. Since the narrative revolves around two female protagonists, Lucille Sharpe and Edith Cushing, the paper also refers to feminist socio-cultural perspectives on space, primarily Gillian Rose’s and Shelley Mallett’s, in order to understand the position of the two protagonists within the decidedly Gothic space. This paper aims to emphasize that Lucille’s liberation as the mistress of the house is illusory regardless of the fact that she is represented as the embodiment of domestic corruption. It is precisely because she is a sexually active woman and a disruptor of the patriarchal order that she must ultimately be punished. Even though del Toro subverts the traditional image of the madwoman in the attic by positioning her at the center of the narrative, Allerdale Hall does not reveal itself as a space of female empowerment

Unsatisfactory devices: legacy and the undocumentable in art.

Regarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states “you have to be there.” For Phelan ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.University of Derb

Women and Haunted Houses in the Films of Jaume Balagueró: The Nightmares of Presence

Jaume Balagueró has developed a successful resumé of horror films that show a decided preference for the classic Gothic motif of the haunted house and the Gothic heroine who investigates its interior. This paper touches first on the Derridean concept of ‘dreams of presence’ (as theorized by cultural geographer Mitch Rose), in order to propose the ‘nightmares of presence’ in which the relationship, the call to care or commitment, between the subject and the space in which the subject dwells or moves is Gothicised but nonetheless remains to tie the subject to the space concerned. It then focuses on Balagueró’s Los sin nombre, Fragile and [REC] to consider three very different Gothic heroines: the mother of a dead daughter, a nurse in a children’s hospital, and a television reporter. The antagonistic call to care of the ‘nightmare of presence’ will be used to interrogate spatial aspects of the Gothic heroine. Keywords: Jaume Balagueró; haunted house; Spanish Gothic; Spanish horror; Spanish film Jaume Balagueró ha desarrollado un grupo de películas exitosas que demuestra una preferencia hacia el escenario clásico de lo gótico, la casa encantada tanto como la heroína gótica que la investiga. Este ensayo estudia en primer lugar el concepto derrideano de ‘los sueños de presencia’ (según la teoría de geógrafo cultural Mitch Rose), para proponer las ‘pesadillas de presencia’ en que el vínculo, la llamada a compromiso, entre el sujeto y el espacio en que se mueve o que habita, llega a ser gotizado; pero que fija al sujeto en el espacio relevante. El argumento se enfoca en Los sin nombre, Fragile y [REC] para considerar tres heroínas distintas: la madre de una hija muerta, una enfermera en un hospital para niños, y una locutora para un programa televisivo. La llamada antagonista de la pesadilla de presencia se usa para interrogar los aspectos espaciales de la heroína gótica