Ontological Identity Research Articles

Parmenides-Plato: (Musical) Ontology

Aurel Stroe is one of the few Romanian composers after Enescu who was privileged to extract the essence of his sonorous universe from extended cultural areas, which in fact feed the highest quality ethos. Parmenides was considered by some researchers as the first great idealist, being the first to distinguish between the material and the immaterial, specifying the fact that reality cannot be known only through the senses: this leads to the central concept of BEING, seen as immutable, eternal, unique, homogeneous and indivisible reality. Aurel Stroe insisted in his lectures and courses on the ontological identity of the work of art, being one of the few composers who discuss its being.

“Can I become a tree?”: Plant Imagination in Contemporary Indian Poetry in English

Abstract Indian poetry in English has a deep engagement with plant imagination from its beginning. The discourse of plant imaginary, however, is never monolithic here. The early poems often use trees either as symbols or semantic entities. In other words, the representation of ontological identity of a tree is largely ignored in early Indian English poems barring a few remarkable exceptions. But contemporary Indian English poetry looks beyond the anthropomorphic vision of a tree and portrays plant subjectivity and plant agency. The depiction of a symbiotic relation between the human world and the arboreal world is also at the centre of this poetry. Some poems speak of plant personhood and even human aspiration for becoming a tree. The present paper critically reads the relevant poems of poets like Toru Dutt, Keki N. Daruwalla, Arvind Krishna Mehrotra, Gieve Patel, Dilip Chitre, Temsula Ao, Sumana Roy, Paresh Tiwari, Kiriti Sengupta among others, and explores all these issues from the perspectives of Critical Plant Studies. The paper also examines how Indian poetry in English is at times implicated in didacticism when it critiques the unprecedented botanical loss in the Anthropocene.

A Chinese Dance Therapy Framework.

Genuine Chinese dance therapy is in the ascendant and psychiatric approaches that involve a broad spectrum of principles such as ontological identity, social inclusion and collective support, aestheticisation and expressive catharsis, symbolic exorcism, trance and Buddhist mindfulness. Its models are based on a wealth of Chinese dance genres originating from various dynasties as well as cultural traditions of ethnic minorities. Due to different epistemological backgrounds of Western diagnostic manuals and traditional Chinese views of mental diseases, complex understanding of pathologies and therapeutic dynamics is needed. Therefore, this opinion piece suggests a theoretical framework that encourages interdisciplinary approaches as well as inclusive transcultural psychiatry and related philosophy of science.

The Church Lives by the Eucharist, the Eucharist Lives in the Church: The Ontological Identity of the Believers

Przedmiotem badania w niniejszym artykule jest wyszczególnienie racji, którymi posłużył się Joseph Ratzinger do uzasadnienia binarnej ontologicznej zależności pomiędzy Kościołem a Eucharystią, rzutującej na tożsamość wierzących. Przy pomocy metody analityczno-dedukcyjnej artykuł wykazuje, że Eucharystia nie jest tylko przyczyną sprawczą dla istnienia Kościoła i trwania wierzących w Chrystusie, ale stanowi o jego istocie i jest gwarantem ontologicznej tożsamości wierzących, odzwierciedlającej ich mistyczne zjednoczenie z Chrystusem i rzutującej na witalność Kościoła. W oparciu o pisma teologiczne Ratzingera artykuł udowadnia, że znalazł on uzasadnienie komplementarności tej relacji w wymiarze chrystologiczno-pneumatologicznym istoty Kościoła i Eucharystii, wyrażonym w pojęciach: Lud Boży, Mistyczne Ciało Chrystusa i Wspólnota. Wyszedł z wydarzenia Ostatniej Wieczerzy jako fundamentu wzajemnej zależności Kościoła i Eucharystii. Podkreślił potrzebę zrozumienia celebracji liturgicznej dla uzasadnienia żywotności Kościoła. W oparciu o jedną wiarę, kult, zwierzchnictwo i braterstwo dowiódł chrystologicznej/ontycznej zasady łączącej Kościół i Eucharystię.

An ontological assessment proposal for architectural outputs of generative adversarial network

PurposeThis study presents an ontological approach to assess the architectural outputs of generative adversarial networks. This paper aims to assess the performance of the generative adversarial network in representing building knowledge.Design/methodology/approachThe proposed ontological assessment consists of five steps. These are, respectively, creating an architectural data set, developing ontology for the architectural data set, training the You Only Look Once object detection with labels within the proposed ontology, training the StyleGAN algorithm with the images in the data set and finally, detecting the ontological labels and calculating the ontological relations of StyleGAN-generated pixel-based architectural images. The authors propose and calculate ontological identity and ontological inclusion metrics to assess the StyleGAN-generated ontological labels. This study uses 300 bay window images as an architectural data set for the ontological assessment experiments.FindingsThe ontological assessment provides semantic-based queries on StyleGAN-generated architectural images by checking the validity of the building knowledge representation. Moreover, this ontological validity reveals the building element label-specific failure and success rates simultaneously.Originality/valueThis study contributes to the assessment process of the generative adversarial networks through ontological validity checks rather than only conducting pixel-based similarity checks; semantic-based queries can introduce the GAN-generated, pixel-based building elements into the architecture, engineering and construction industry.

Du translingue comme post-monolinguisme. Subvertir le maternali(ngui)sme dominant pour légitimer la minorité spanglish

About Translingual as Post-Monolingualism. Subverting the Dominating Mothertongue to Legitimize the Spanglish Minority
 The puertorican cultural identity was forged between American colonialism and the previous secular Spanish rule, but now Puerto Rico is a free state associated to the United States. The circular migratory flows between the two territories allowed the consolidation of a consistent Hispanic community in the surroundings of New York, the newyorican one, living at the crossroad between two ethnic groups, two languages. Thus, the prolonged contact of English and Spanish led to the development of a new linguistic code: Spanglish. This transcends the phenomena of bilingualism, diglossia and code-switching, placing the speakers in a linguistic continuum and eluding the notions of mother tongue and foreign language, dominant and minor language. Starting from the subversion of the concept of mother tongue, this essay explores the discursive and linguistic strategies by which the Puerto Rican writer Giannina Braschi in her "Yo-Yo Boing"! legitimates Spanglish. If mother tongue shapes the ontological identity from birth, language fluid contributes to the deconstruction of language as identity belonging. Language is a liquid object: polyphonic, dialogic and conative because it addresses to recipient, its arbitrariness makes it polyhedral and it is a representation of the multiple facets of identity. Our research, dealing with the geopolitical frictional context of the borderland between United States and Latin America, problematizes the location of a non-canonised literature employing linguistic hybridity as a marker of dominant identity. In fact, in-between linguistic politics is not bilingual, but translingual; it posits a post-national and post-conflictual ideology and transculture's linguistic porosity makes monolingualism obsolete, affirming translingualism as post-monolingualism. Post-monolingual being is the one who has freed himself from dependence on the "langue" making the "parole" the means of expression of his logos. Hybridity allows to make the dominant the dominated, that is why Giannina Braschi writes in her foreign language and not in her mother tongue, she writes in minor language in order to promote it, dominant language becomes the dominated one.

Singing the River in Punjab: Poetry, Performance and Folklore

This paper traces the centrality of rivers in twentieth-century and contemporary popular music and poetry in the regional context of Punjab in the north-west of the subcontinent. In contrast to the riverine imaginations in the songs of eastern or central India, we look at the very different evocations of rivers—both real and conceptual—in the subcontinent’s north-west. Rivers feature centrally in the love legends, devotional and folk poetry, and songs of Punjab, and here we trace a river-based ‘hydropoetics’ in Punjab, querying land-focused perspectives. From the metaphysical and the sacred to the sensual, and from the realms of the quotidian to those of mourning and trauma, we argue that in Punjab, ‘singing the river’ is central to people’s definitions of regional and ontological identity, and to the way they understand their place in the world.

The Unique Concept of God in Donghak (東學, Eastern Learning): An Emanation of the Religious Experiences of Suun Choe Jeu

The religious experience of Suun Choe Jeu (水雲 崔濟愚, 1824–1864) was a decisive starting point for the Donghak (東學, Eastern Learning) religion. This paper illustrates how Suun’s religious experiences—which are both dualistic and monistic—are foundational to the Donghak conception of God and are integral to Donghak’s unique religious and ethical framework. Whereas the dualistic experiences are manifested both in Suun’s first encounter with Sangje in 1860 and in Cheonsa mundap (天師問答, “conversation with the Heavenly Master”), the monistic experiences are demonstrated in Suun’s Osim jeuk yeoshim (吾心卽汝心, “my mind is your mind”). Suun’s monistic and dualistic experiences emerge as the monistic and dualistic aspects of Donghak’s conception of God. In Donghak, God is both the object of a dualistic relationship with a human being and the object of a monistic or mystical union that confirms the ontological identity between God and humankind. Acknowledging the relationship between Suun’s religious experiences and Donghak’s concept of God reveals the weakness of the view that Donghak is merely a syncretism of Eastern and Western religions. Rather, Suun’s religious experiences are formative to Donghak’s unique conception of God; therefore, they are crucial to appreciating its religious and ethical creativity.

The Erotics of Materialism: Lucretius and Early Modern Poetics by Jessie Hock

Reviewed by: The Erotics of Materialism: Lucretius and Early Modern Poetics by Jessie Hock Philip Hardie Jessie Hock. The Erotics of Materialism: Lucretius and Early Modern Poetics. Philadelphia: University of Pennsylvania Press, 2021. 234 pp. Cloth, $59.95. LCCN: 2020019209. ISBN: 9780812252729. This reworking of a 2015 Berkeley thesis puts the spotlight on the response, by a number of French and English Renaissance poets writing between the 1550s and the 1670s, to the fusion of erotics and poetics in Lucretius' De Rerum Natura: in France, Pierre de Ronsard and his associate in the Pléiade, Remy Belleau; in England, John Donne and two female writers, Lucy Hutchinson and Margaret Cavendish. In the "Introduction," Hock identifies as Lucretius' central strategy of persuasion a poetics of seduction. Whatever other purposes the opening hymn to Venus may have, it establishes erotic desire as that which the poem instils in its readers: the lepos "charm" that ensnares all living creatures to follow Venus in the business of procreation is, as universally recognised, the same as the aeternus lepos that the poet asks the goddess to lend his own words. Hock reads back into the relationship between poem and reader the "eternal wound of love" that disarms Mars in the presence of Venus, in the ensuing prayer for peace. The honeyed cup simile is also read as an image of seduction (true, the tenor for which it is the vehicle is the musaeus lepos with which Lucretius touches that of which he sings, 1.934). Perhaps surprisingly, nothing is made of the amor musarum which impels the poet to roam over his trackless ways (1.924–5). But more surprising for many will be the claim that the notoriously vivid description of the frustrations of sexual desire at the end of book 4 "is central to DRN's wide-ranging discussion of poetics and the imagination, as well as to the reception of those ideas in early modernity" (5). Where most readers find a disturbing disjunction between the procreative and pacific Venus of the opening hymn, and the psychologically destructive Venus of erotic delusion in book 4, Hock sees the two as part of the same nexus of erotics and poetics. Of recurrent importance for Hock's readings throughout the book are the atomic simulacra of the object of desire, the fine films of matter which both provoke desire, as material things, and frustrate its fulfilment by their insubstantiality. Much is made of Foucault's paradoxical phrase "incorporeal materiality" with reference to simulacra, a phrase extended by Jonathan Goldberg to atoms themselves, as being matter that cannot be directly apprehended by the senses. But this is to obscure the absolute division in Epicurean between matter (atoms) and non-matter (the void). Invisibility does not verge on incorporeality. The claimed "here-not-here" quality of both simulacra and atoms is mobilized for the reading of a materialist poetics into the passage on desire at the end of book 4, via the analogy that [End Page 181] "Just as images stoke desire for bodies, Lucretian poetry stokes desire for the atom itself, or rather, for materialist teachings about the atom" (15; I am not sure that this is a desire that I recognise in myself). The impossibility of sensory apprehension of the atoms is important also for a recurrent identification of a Lucretian "scepticism" in the early modern reception. simulacrum et imago may be Lucretius' necessary route to knowledge of the atoms, but this most dogmatic of philosophical poets is no sceptic. I was puzzled to see myself quoted (twice: 181 n. 18, 210 n. 31) as ascribing "a rhetoric of uncertainty" to Lucretius' didactic voice, until I checked and found that what I had in fact written was "a rhetoric of certainty." More productive is the enlistment of simulacra for a thesis about the materiality of fantasy and of poetry, convergent with the analogy, merging into identity, between atoms and the letters of the poem, in the pun on elementa. This ontological identity of representations and things, undermining the Platonic hierarchy of reality and imitation, is later put to good use in tracing the collision between Renaissance Neoplatonism and Lucretian poetics. Chapter 1, "Materializing...

PHILOSOPHY AS AN AGORA OF CULTURAL DIALOGUE: MEETING OF MARTIN HEIDEGGER AND PAUL CELAN

Philosophy as poetry and praxis, as agora of cultural dialogue is considered. Based on hermeneutic analysis of one of Paul Celan’s poems (“Todtnaubeg”), the possibity of a dialogue between twentieth‐century philosophy (Martin Heidegger) and twentieth‐century poetry (Paul Celan) in the agora of public philosophizing has been established. Paul Celan was comforted by philosophy (euphrasia). It turns out that philosophy is always more than philosophers, this is the main lesson learnt by the author of the poem “Todtnaubeg”. It is shown that anthropological issues are always broader than individual discourses, although even in individual works (treatise, poem) we can find a whole rang of such discourses. The poet dedicates poem "Todtnaberg" to the turning point in his life and development of twentieth‐century philosophy (meeting with the most famous and influential twentieth‐century philosopher Martin Heidegger). Philosophy is seen as a complex combination of poetry and praxis, diverse discourses, as a place of cultural dialogue and a therapy for cultural trauma. Paul Celan needed such consolation (euphrasia) by philosophy, and he received it from philosophy and philosophical communication in general, and not from Martin Heidegger (the reasons for distortion of communication and integrity of dialogical discourse are considered). Unfortunately, Heidegger himself was not always ready for such a dialogue, but his philosophy acts on his behalf, complementing the words of poetry, the very situation of an agora is based on freedom of philosophical thought, at the top of Mountain of the Dead or the Magic Mountain, the main thing is that they maintain humanity and openness to the Other Voice which can be heard from any top. Language provides an opportunity not only to express but also to create ‐ to reproduce the unity of the world, unity of the sacred and being, meaning of the Logos significantly deepens both the philosophy of language and the theory of performativity in the creative, therapeutic function of the Word. Logos imparts truth and comprehensiveness to the statement. This provides an opportunity for not an objective but an ontological identity which through the word reveals the unity of being, overcomes its rupture and trauma.

Paradoxes of Pure Experience: From the Radical to the Transcendental with James and Deleuze

Abstract This paper investigates the relationship between James’ radical empiricism and Deleuze’s study of the genesis of sense without a transcendental subject as necessary condition. It shows that James’ concept of pure experience changes the form of relation between mind and world. Considering how to conceptualize experience without a fixed metaphysical or transcendental subject destabilizes ontological identity, leads to a founding conceptual divergence from traditional phenomenology, and motivates Deleuze’s efforts towards transcendental empiricism. The paper reads Deleuze’s work on the genesis of sense in this context, arguing that one important result is an ontological pluralism. Such pluralism is crucial in considering how meaning can be made between and across differences and is in keeping with radical empiricism’s openness to life’s complexity.

Appearance of Subjectivity

The authors attempt to outline an ontological perspective different from the mainstream materialistic ontology. Some aspects of this perspective can be found in the works of eminent philosophers of the past, such as Husserl or Hegel. The authors, however, point out a systematic methodological mistake earlier thinkers made concerning the notion of the Other. The Other is the key factor in the development of consciousness and subjectivity, and this paper seeks to show how the Other moulds and creates subjectivity out of a biological man. Human identity arises in two steps: ontological identity is created first, from which empirical identity grows, culminating in consciousness and personality. It was logical for philosophical consciousness to contemplate subjectivity which is not yet formed. Tabula rasa is a biological man, but that structure will not become a human subjectivity if it does not dwell with other subjectivities. The Other is not simply another Self. There is no elementary sensation to inform a biological organism of the state in which it finds itself; it is a kind of a physical unity for the emerging consciousness, but in itself it is not yet ready to perceive and act according to it at this stage. Without the influence of the Other, a human organism will never become Self. This unifying perception of the Other depicts an original encounter where there is also fascination. But fascination turns into frustration when the Other disappears or exits the focused perceptual field. This process of perceptual addition and dissolution is repeated, creating a change in what can be called the game of presence and absence. With the departure of the Other, the cause of the focus goes away, but what remains is its trace — the attention that is now left to wonder. Attention left without its source is only to itself and is directed to itself because this is the only direction that remains. Subjectivity, once symbolised by a circle, finally takes the form of a torus in whose interior hole resides the trace of the Other. With the entry of multiple Others into the relationship, primarily through speech, meanings acquire solid aspects introducing the law of symbolic order. This stabilisation of meanings frees uninitiated subjectivity, by which one truly enters the field of freedom opening that of ethics. The authors’ point is that accounting for the notion of external world, one should consider the Other first, and only after that simple otherness.

Ethnography and applied metaphysics

Ethnography and applied metaphysics

Against what?

Against <i>what</i>?

Synergy Polemiс

The article is based on a speech at the second Bezhetsk readings in memory of V. Bibikhin. This time they were also dedicated to the memory of V. Bibibikhin's friend, Sergey Khoruzhiy, who left in September 2020. They were tied by close friendship and heated polemics. The topic of controversy was, in particular, the Palamite dogma. In this article, I try to identify the source of this controversy within the philosophical problem itself. It is rooted in the Parmenidean definition of the identity of thinking and being and in the Aristotelian concept of energy. It is with Aristotle that the leading theme of V. Bibikhin's philosophizing, the theme of “energy of rest”, is connected. In this “peace”, however, lurk the ontological aporias, clarified by Plato in “Sophist” and “Parmenides”. The solution of these aporias in Neoplatonism leads to the transformation of the meaning of ontological identity. S. Khoruzhiy considers the ascetic practice of the Byzantine hesychasts and spiritual practices in general as the basis of his synergic anthropology. Phenomenological analysis of ascetic experience unfolds the configuration of the “energies of ontological opening” of a person. On this basis, an anthropology of possible constitutions of a person is built in its interconnection with being.

A Review of the History of Radioactive Iodine Theranostics: The Origin of Nuclear Ontology

Studies on the first years of radioactive iodine (RAI) use in thyroid diseases have focused on hyperthyroidism. Saul Hertz’s success with RAI in thyrotoxicosis fueled a seamless transition to Samuel Seidlin’s investigations with RAI in thyroid cancer. These landmark events embody nuclear ontology, a philosophical foundation for the creation and existence of radio-therapeutic principles that continue to influence clinical practices today. Laying this ontological foundation, Dr. Saul Hertz who is the founding director of Massachusetts General Hospital Thyroid Clinic, affiliated with Harvard University created a framework for RAI theranostics with preclinical experiments and clinical cases from 1937 to 1942. The first thyroid cancer treatment with RAI was applied in 1942 by Samuel Seidlin. The sensational effect of the first application was interestingly powerful enough to overshadow scientific data. Seidlin and colleagues assembled a sixteen-patient series showcasing a unique entity: functional thyroid metastases that respond to RAI. Other investigations at the time demonstrated that RAI had little efficacy as a therapeutic agent, mainly because most thyroid tumors do not form colloid, and therefore cannot concentrate RAI. These findings were soon overshadowed by a mainstream article in the October 1949 issue of Life that portrayed RAI as a lifesaving therapy for thyroid cancer. The paradigm was set, and later writings by William H. Beierwaltes and other prominent nuclear medicine physicians established the primary goals and principles of RAI therapy. The developments in theoretical physics and nuclear instrumentation and the scientists who made these developments in the early years contributed greatly to the development of the concept. In the field of nuclear medicine, William H. Beierwaltes has gone down in our history as a clinical researcher with his most important contributions. The classical paradigm that started with him has carried us to today’s molecular theranoistic viewpoint. This paper examines controversial topics in the advent of thyroid theranostics, and applies historical significance to current discussions on the role of RAI in thyroid cancer management. Another paradigm shift is on the horizon as thyroidology enters the age of genomics. The molecular theranostic profiles will soon be incorporated into a dynamic clinical decision-making and management algorithm for thyroid surgery and RAI therapy. From now on, nuclear oncology will gain a new ontological identity with molecular pathology and new theranostic expansions.

African Modernity and the Philosophy of Culture in the Works of Femi Euba

Reviewed by: African Modernity and the Philosophy of Culture in the Works of Femi Euba by Iyunolu Osagie Kayode Odumboni African Modernity and the Philosophy of Culture in the Works of Femi Euba BY IYUNOLU OSAGIE Lexington Books, 2017. xxxii + 155 pp. ISBN 9781498545662 cloth. With her latest book, African Modernity and the Philosophy of Culture in the Works of Femi Euba, Iyunolu Osagie achieves two critical goals: she delivers an intricate study of the corpus of Euba's works and at the same time she offers an important perspective on the discourse of tradition and modernity from the prism of African metaphysics. Across five chapters, Osagie displays an intimate engagement with Euba's scholarly and creative productions. Euba's works to which Osagie offers detailed analytical exploration include the critical book Archetypes, Imprecators and Victims of Fate: Origins and Developments of Satire in Black Drama; his full-length plays Abiku, The Gulf, The Eye of Gabriel, and Dionysus of the Holocaust; his one-act plays A Riddle of the Palms, Crocodiles, and The Chameleon; and the novel Camwood at Crossroads. In each chapter, Osagie provides theoretical (and, where necessary, historical) contextualization to her close-reading of each of these texts by Femi Euba. African Modernity and the Philosophy of Culture enters the age-old scholarly conversation about tradition and modernity. Osagie builds on and extends the disparate ideas of scholars of African thought such as Anthony Appiah, V. Y. Mudimbe, Achille Mbembe, Kwame Gyeke, and Olufemi Taiwo, among others, to argue that the distinction often drawn between tradition and modernity is not as clear as it is sometimes construed in scholarship—rather, Osagie posits, tradition and modernity are intertwined in a dialogic relationship, and any distinction between the two is at best a tenuous one. To that end, African Modernity and the Philosophy of Culture demonstrates how Euba's plays and novel consistently subvert the rigid polarity that is often thought to exist between tradition and modernity. As Osagie points out, one of the key distinctions between tradition and modernity is that while the latter is believed to be defined by certitude, the former is marked by doubt and unpredictable change. But Euba's works, Osagie asserts, highlight "the inescapable reality of tradition in the very workings of modernity.. the longevity of tradition, not as a dying past but as the very core of modernity itself" (114). That is, tradition and modernity do not only coexist, they also inform and interpellate each other. Osagie anchors the core of her argument on the character of the Yoruba god Esu. She teases out the many ways in which Esu functions in Euba's ouvre as the "god of crossroads"—and more importantly, she extrapolates this ontological posture of Esu as representative of the relationship between tradition and modernity. In Osagie's analysis, tradition and modernity do not only meet at a crossroads, but they also function together as cosmic crossroads—and Esu functions in Euba's works as an extended metaphor, embodying this aesthetic liminality. African Modernity and the Philosophy of Culture highlights the significance of Euba's artistic deployment of Esu, in that it is a radical departure from how Wole Soyinka (a mentor to Femi Euba) deploys Ogun in his own art and philosophy. While Soyinka's [End Page 213] centering of Ogun in explaining African ontological identity has been criticized (notably by Anthony Appiah) as an imposition of Yoruba cosmology on the rest of Africa, Euba's deployment of Esu finds relevance not only among the Yoruba people nor just in Africa, but also across Africa's many diasporas. Esu is represented in the culture, history, and literatures of black people all over the globe. Osagie refers to Esu as a "boundary-crossing god, very much alive in the Black Atlantic world of the Caribbean, the United States, and other black diaspora spaces in Europe" (114). Hence, Euba's centering of Esu does not only lend a global resonance to his work, it also becomes a fruitful means of contemplating modernity through a global black consciousness. Osagie's core argument is clearly stated and lucidly explored throughout the book. But while she argues that tradition and modernity are...

The ontological politics of the spoof image in Tamil cinema

ABSTRACT This article examines Thamizh Padam (‘Tamil Film’, dir. C. S. Amudhan), a 2010 spoof of the Tamil cinema of south India. While Thamizh Padam mocked near every aspect of mainstream Tamil cinema, its main target was the industry’s ‘mass heroes’, those larger-than-life stars whose image blurs onscreen and offscreen. While recalling Bazin’s discussion of the ontological identity of the photographic film image and its object, the auratic presence of the mass hero’s image affords a populist political potency that runs counter to Bazin’s liberal humanism and realist aesthetics. Drawing on analysis of Thamizh Padam and interviews with its makers, I show how Thamizh Padam attempted to undermine the ontology of the mass-hero’s image, its mode of production, and political charge. In its place, Thamizh Padam advocated for a narrative representationalism guided by the director and his script/story. The article concludes by rethiking Bazin’s discussion of the ontology of the film image, suggesting that it can be productively reframed by attention to the ontological politics of and for images.

El cine como espejo diferido: el concepto de transferencia en André Bazin y Stanley Cavell

Este artículo rescata la visión de André Bazin para señalar su actualidad en el momento de tratar de la siempre cambiante naturaleza del cine, específicamente ante las nuevas formas cinematográficas. La teoría de Bazin se sustenta de un modo aparentemente paradójico sobre la identidad entre el modelo real y su imagen fotográfica, una premisa compleja que será desarrollada décadas más tarde por el filósofo estadounidense Stanley Cavell. En este trabajo, se indicará, primero, el sentido de esta identidad. En vistas a demarcar el alcance y las repercusiones de esta identidad ontológica en la perepción de la imagen cinematográfica, se abordará el concepto en relación con el de semejanza y con el de causalidad, para conocer la especificidad de este. A continuación, se explicará su alcance a partir del concepto de transferencia. Para llegar a una comprensión cabal de este proceso, se analizará el modo en el que aparece en los trabajos de ambos teóricos. Una de las principales conclusiones del artículo es que el realismo no es algo de lo que el sujeto deba investir a la imagen fotográfica, sino que es una propiedad de esta, en virtud de la transferencia de realidad del objeto a la imagen. Con ello, se muestra cómo el espectador de cine, frente a la pantalla, lleva a cabo un acto análogo al de la percepción cotidiana: el reconocimiento de una realidad representada en pantalla.

Intensity, Manifestation, and Performance in the Politics of the Real

This study attempts to explain the concept of the real in terms of intensity, manifestation, and performance, and then outlines key aspects of the politics of the real. The politics of the real is based on an interruption of identification and an abrupt end of continuity, and intensity, manifestation, and performance are the modalities of the politics of the real. First, intensity is the principle of punctualization. It denotes an anti-dialectic and anti-systematic enterprise that aims to leave behind the paradigm of continuity. It acts as the counter-principle to overcome the Hegelian dialectic and historicism. It concerns the dimension before the formation of identity and thus functions as a categorical rejection of ontological identity. Consequently, it evolves into a figure of future politics, because it denies identity and instead affirms new inventions. Second, <i>manifestation</i> is a matter of politics, because politics shows itself as a matter of visibility and demonstration. Ultimately, politics is the fight over manifestation. Furthermore, manifestation is the modality of existence of the collective, since a new arising collective always manifests itself in the space of images. Finally, <i>performance</i> is an action concept and thus opposed to the static world-model. Hence, the world appears as the place for restructuring and reshaping. Performance renders reference and the classical notion of mimesis obsolete. It undermines the distinction between original and copy and instead affirms the permanent generating of new relations and nexuses. Hence, it is the generation of freedom. Ultimately, it acts as a disappearing intermediary between virtual intensity and actual manifestation. It is an anti-metaphysical concept of possibility that differs strictly from metaphysical possibility. Thus, intensity, manifestation, and performance each correspond to the virtual, actual, and possible of the real and thus are to be denoted as modalities of the politics of the real.