Warwick Mules

In cinematic experience, a view from nowhere appears in an instituting moment – neither in time nor out of time, but part of time itself – when a camera reflex lifts the viewer’s perception out of somewhere and into the infinite time of the film. We argue that the view from nowhere found in Birt Acres’s film Rough Sea at Dover – a fifteen-second shot of waves breaking against a sea wall in Dover, England in 1895 – transcends all attempts to turn it into a view from somewhere, as an empty space that carries the auratic trace of the past into the present through phase shifts of technical mediation. In Simondon’s terms, the view from nowhere opens up possibilities of becoming all ways at once in the reflexive capacity of the human organon. Following Stiegler’s organological technics, we identify the capture of perception by the apparatus of recording and playback in the digitally automated algorithm as a threat to the reflexive capability of the organon to see otherwise in the creative individuation opened up in the phase-shifting process. Our analysis triggers a switch from an anthropocentric to a neganthropic-ecological mode of seeing in which the auratic trace of the event of waves crashing against the pier is seen in an inhuman view from nowhere that carries the threat of automatized systems in which human noesis – self-reflexive capacity – is eclipsed by machines. By seeing otherwise, the eclipse by machines is reversed to reveal the complex becoming of the film in its materiality as a work of creative individuation.

_With Nature_ provides new ways to think about our relationship with nature in today’s technologically mediated culture. Warwick Mules makes original connections with German critical philosophy and French poststructuralism in order to examine the effects of technology on our interactions with the natural world. In so doing, the author proposes a new way of thinking about the eco-self in terms of a careful sharing of the world with both human and non human beings. _With Nature_ ultimately argues for a poetics of everyday life that affirms the place of the human-nature relation as a creative and productive site for ecological self-renewal and redirection

In his recently published book _Reading the Figural, or, Philosophy after the New Media_, D. N. Rodowick introduces the figural into the analysis of film and new media. The book contains revised versions of already published articles written in the 1980s and 1990s, [1] together with new material, and takes us on a journey through film theory and new media technologies to draw out the power of figuration in the coming digital age. Recognizing the 'tectonic shift' (205)currently taking place from an analog to a digital culture, Rodowick convincingly argues that we need a set of new concepts and strategies capable of engaging with new media forms and effects, in order to develop 'creative strategies of resistance' (xvi) as part of a 'critical genealogy that may liberate new concepts for critiquing the permeation of capital into all areas of cultural experience'

In an essay published in 1918, Walter Benjamin sets forth a task that will concern him for the rest of his life: The task of a future epistemology is to find for knowledge the sphere of total neutrality in regards to concepts of both subject and object; in other words, it is to discover the autonomous, innate sphere of knowledge in which this concept in no way continues to designate the relation between two metaphysical entities. (‘‘The Coming Philosophy’’ 104) Benjamin seeks an ‘‘autonomous, innate sphere of knowledge’’ that bypasses the Kantian dualism of subject and object to ‘‘form a pure and systematic continuum of experience’’ (105). He wants to break down the relation between subject and object that has led to the ossification of experience in fixed modes of life, in order to develop a theoretical thinking that ‘‘grasps the world as such as an undivided whole’’

In this paper, I argue that we need to re-address the issue of freedom as it relates to democracy and critical practice. My argument is drawn out of Derrida's deconstructive reading of Jean-Luc Nancy's The Experience of Freedom which proposes freedom in ontological terms as an experience of indeterminate openness that must be thought prior to any freedom of the self. I show how Derrida's reading of Nancy's text is itself a re-enactment of the freedom that Derrida finds wanting in Nancy's text, but which, by that very fact, affirms the power of critique in its capacity to think freely. The urgency of the thought of freedom is not something that can be avoided, but is itself the fact of critique in its thinking of democracy as a possibility, as something that might come about, as distinct from an already accomplished idea. To think in this way is, I argue, a matter of virtue, that is, of being free, as the virtue of critique and its capacity to act decisively, thereby bringing something forth by risking what it already is, in the absolute possibility of it not being