Статті в журналах з теми "Benjamin, Walter (1892-1940) – Surréalisme"

Inspirado na obra do arquiteto arquiteto Adolf Loos (1870-1933), o filósofo e ensaísta alemão Walter Benjamin (1892-1940) publicou em 1931 “O caráter destrutivo”, um pequeno texto em que busca delinear o anseio humano pela destruição. Valendo-se de uma abordagem genérica, porém não superficial, Benjamin compreende a destruição como um elemento central da modernidade.

O objetivo deste ensaio é analisar o trabalho Suite Vénitienne (1981), da artista Sophie Calle (1953), e contrapô-lo a alguns mecanismos estéticos de Walter Benjamin (1892-1940), tais como: conceito de experiência, arte de narrar, fotografia como técnica política e modificadora do sujeito, conceito de fragmento e mimese. O texto é resultado de um exercício inicial de reflexão.

Walter Benjamin (1892-1940) was a German intellectual of Jewish descent, a well-known literary critic, philosopher, sociologist, translator and essayist, and a key figure in continental philosophy. His works on topics such as historical materialism, German idealism, and Jewish mysticism have had a marked influence on contemporary aesthetic theories and the development of Western Marxism, including the Frankfurt School of Critical Theory. These articles will focus on the analysis of the concept of messianism, which Benjamin develops in his work “On the concept of history” or “Theses on the philosophy of history” (1940). Messianism here is neither a theological dogma nor a modern figure of the utopian. Benjamin’s messianic time does not refer to the future, but to the urgency of the “now.” The author contrasts the “weak messianic force” of the tradition of the oppressed, which demands the past with the realization of happiness and liberation in the present, and Jetztzeit – a model of messianic time, open and nonlinear time of rupture, based on modern (contemporary) forms of collective experience past and liberation memory (Eingedenken).

http://dx.doi.org/10.5007/2177-7055.2016v37n74p137O presente trabalho reflete brevemente sobre as ideias de violência pura e de estado de exceção efetivo no pensamento de Walter Benjamin (1892-1940), lançando na seção 2 a hipótese de que são resultados de uma longa meditação que começa com o texto Sobre a crítica da violência (1921), passa pelo denso fragmento O caráter destrutivo (1931) e chega à obra intitulada Teses sobre o conceito de história (1940), quando Benjamin percebe com clareza à impossibilidade de se negociar com as instituições democrático-liberais, as quais funcionam como estruturas desaceleradoras (katéchonta) do tempo da revolução, leitura apresentada na seção 1 mediante a profanação do conceito original schmittiano. O artigo passa então na seção 3 a interpretar as ideias de Benjamin em um cenário de ficção – a trilogia Batman de Christopher Nolan – que a cada dia parece mais terrivelmente real, concluindo com um parágrafo de sabor agambeniano sobre o direito-que-vem (seção 4).

Resumo Quando se faz referências às relações entre Hannah Arendt (1906-1975) e Walter Benjamin (1892-1940) a menção sempre lembrada é a da amizade. Nas homenagens prestadas à Hannah Arendt por ocasião de sua morte, o filósofo Hans Jonas - amigo de Arendt desde o tempo que foram colegas na universidade em Marburg e alunos de Heidegger - destacou sua vocação para a amizade. Segundo ele, o que a movia era o Eros da amizade (Eros der Freundschaft). No círculo dos amigos mais próximos, incluía-se Walter Benjamin, com quem convivera no exílio em Paris entre os anos 1936 e 1940. E a amizade como pensada e cultivada na prática pelos dois pensadores situava-se no centro de suas vidas, como laço afetivo e visão de mundo. Este paper aborda a relação entre Arendt e Benjamin em dois âmbitos: a amizade, construída na situação de filósofos judeus-alemães refugiados em Paris, e as afinidades eletivas na concepção da história e da modernidade.

O presente trabalho objetivou interpretar os escritos de Walter Benjamin (1892-1940), proeminente filósofo alemão, sobre o escritor tcheco Franz Kafka (1883-1924). O objetivo principal foi investigar o contexto histórico em que houve o encontro dos autores, bem como o conjunto de ideias comum aos autores em tela. Desse modo, os conceitos de experiência (Erfahrung), tradição doente e esquecimento são escolhidos no sentido de mensurar os trânsitos intelectuais entre Benjamin e Kafka, unidos também pela ascendência judaica. Procuramos definir essa tríade de conceitos, cuja proximidade não permite que sejam entendidos separadamente, à medida que mergulhamos nos ensaios e nas cartas de Benjamin que versam sobre Kafka. Assim, as correspondências com o teólogo e amigo Gershom Scholem sobre o autor tcheco foram fundamentais. Interpelamos também alguns contos e novelas de Kafka, comparativamente aos escritos do pensador alemão. Por fim, objetivamos compreender como Benjamin e Kafka enxergaram a problemática do declínio da tradição.

Adentramos nos mosaicos da condição humana que perpassam a obra de Oswald de Andrade (1890-1954) e Walter Benjamin (1892-1940). Propiciamos nos labirintos de nossas escrituras encontros (im) possíveis entre os dois escritores, em suas concepções de crítica, leitura, escrita e de uma reeducação do olhar diante da vida. Em ambos, nenhuma certeza consoladora, em seus relatos o ensaio constante diante da vida e as reservas diante dos sentidos arbitrários das palavras.

Walter Benjamin (1892-1940) acuña el concepto de “flâneur” para interpretarla experiencia de lo urbano en la obra literaria de Charles Baudelaire. Aplicar esta propuestametodológica a la obra crítica de Emilia Pardo Bazán (1851-1921) es productivo para entendersu evaluación de la ciudad de París. Las evidentes diferencias ideológicas entre Benjamin yPardo Bazán no impiden, sin embargo, que existan complicidades socio-estéticas entre ambosautores. Su obra crítica valora el impacto de la modernidad en el XIX, reflexiona sobre laexperiencia viajera y los fenómenos urbanos modernos, rechaza la conversión de la literaturaen mercancía y asume un discurso cosmopolita, ecléctico y heterodoxo en sus respectivoscontextos culturales. La teoría crítica de la modernidad formulada por Benjamin y los ensayoscríticos el de Pardo Bazán sobre esa misma modernidad burguesa constituyen, en definitiva,una valiosa representación estética sobre la modernidad en el turbulento contexto histórico del“Modernismo” (1890-1940).

Este material diz respeito a uma entrevista concedida pelo Professor Doutor Alexandre Fernandez Vaz sobre a infância em Walter Benjamin (1892-1940) e a importância da experiência para a constituição da subjetividade. Além do mais, focalizou questões sobre a infância, questões étnicas, “raciais” e o papel do adulto (professor/a da educação infantil) nessas relações, pautadas no pensamento do filósofo judeu alemão. Foi dividida em três blocos distribuídos da seguinte forma: no primeiro foram três questões; no segundo mais três e no último apenas uma questão com percepções e comentários gerais do entrevistado e do/as entrevistador/as.

Technological developments produce many novelties, but if we are careful, the same repeating patterns will emerge. Long before the advent of smart phones, Walter Benjamin (1892-1940) had reflected the distinctive characteristics of capitalism, the novelty phenomenon which is always the same again (the always-again-the-same). The focus of this article lies in the concept and phenomenon of this repetition. This article reviews some of the experts' understandings of the same novelty concept and its application to studies in the literature. Furthermore, the authors reflect on their own using television and smartphone cases and the communication behavior of parents and children. The author argues that the communication behavior of parents and children induced by smartphones today is a repetition of what actually happened at a time when the capitalistic object or product that was consumed was television, screened media that parents and children consumed before the invention of the smartphone.Keywords: communication behavior, novelty which is again the same, Walter Benjamin, double dream theory, smartphonePerkembangan teknologi menghasilkan banyak kebaharuan, namun jika kita teliti akan muncul berbagai pola berulang yang sama. Jauh sebelum munculnya ponsel cerdas, Walter Benjamin (1892-1940) telah merefleksikan karakteristik khas dari kapitalisme, fenomena kebaharuan yang selalu lagi-lagi sama (the always-again-the-same). Fokus dari artikel ini terletak pada konsep dan fenomena pengulangan ini. Artikel ini meninjau sejumlah pemahaman para ahli mengenai konsep kebaharuan yang sama serta penerapannya dalam studi dalam literatur. Selanjutnya penulis merefleksikan sendiri menggunakan kasus televisi, ponsel cerdas, dan perilaku komunikasi orang tua dan anak. Penulis berargumen bahwa perilaku komunikasi orang tua dan anak yang diinduksi oleh ponsel cerdas di masa kini adalah pengulangan atas apa yang sebenarnya telah terjadi pada masa dimana objek atau produk kapitalistik yang dikonsumsi adalah televisi, media berlayar yang dikonsumsi orang tua dan anak sebelum ditemukannya ponsel cerdas.Kata kunci: perilaku komunikasi, kebaharuan yang lagi-lagi sama, Walter Benjamin, teori mimpi ganda, ponsel cerdas

As múltiplas formas de comunicação podem nos levar a um cenário de desinformação, sedução, solidão e de morte com aquilo que presumimos enxergar. Estar vivo, hoje, aponta para a condição de estar virtualizado, digitalizado. Aqui, busca-se provocar uma reflexão com base em dois ensaios do escritor Walter Benjamin (1892-1940) envolvendo-os com o universo experienciado pela população LGBTI+, de maneira a compreender como as narrativas desta população são construídas e apresentadas nos ambientes midiáticos.

Este artigo analisa alguns aspectos da noção de narrativa à luz das idéias do filósofo alemão Walter Benjamin (1892-1940), do literato tcheco Milan Kundera (1929-) e do filósofo norte-americano Richard Rorty (1931-2007). A fundamentação teórica de nosso estudo estará centrada, principalmente, no conhecimento advindo a partir de autores como: Benjamin (1975, 1986), Kundera (1988, 1994), Rorty (1990, 1994, 1995, 1997, 1998, 2000) e Orwell (1996). Assim, a interpretação dos textos dos autores estudados e a posterior confrontação de suas idéias permitirão relacioná-las conceitualmente com a temática proposta. Finalmente, propomos mostrar que, em alguns momentos e a despeito das diferenças teóricas entre Benjamin, Kundera e Rorty, suas vozes ecoam importantes mensagens em comum para a educação.

<p>Este artículo analiza los estudios del anime contemporáneo y cómo se cruzan con el pensamiento político del filósofo y crítico Walter Benjamin (1892-1940). A través de un examen de los escritos de Benjamin sobre arte y política, junto con la teoría crítica de la producción y el consumo de anime, este ensayo destaca los potenciales políticos radicales de la creación de imágenes de anime para el público. Revisando las prácticas específicas de producción, distribución y consumo de anime, y la teoría contemporánea que las rodea, se argumentará que los escritos de Benjamin sobre la política del arte pueden ayudarnos a apreciar mejor estas prácticas y sus ramificaciones políticas. Estos rasgos aludidos incluyen la composición de imágenes planos, la mezcla de medios de anime, inmovilidad en la animación limitada, y prácticas de consumo otaku. Este ensayo termina con ejemplos de la franquicia más grande de Neon Genesis Evangelion para mostrar el pensamiento político de Benjamin en acción.</p>

Pretende-se comentar as soluções adotadas para a tradução de uma pequena narrativa de Johann Peter Hebel (1760-1826), “Reencontro inesperado” (“Unverhofftes Wiedersehen”), de 1811. As soluções de tradução dependeram de uma interpretação da história a ser traduzida, que foi fortemente inspirada na leitura feita por Walter Benjamin (1892-1940). Faremos referência, sobretudo, às considerações feitas pelo crítico no célebre ensaio sobre “O narrador” e na conferência de rádio proferida em 1929, intitulada “Johann Peter Hebel”.

O artigo aborda a presença das imagens técnicas na produção do conhecimento, problematizando o uso do recurso da videogravação em pesquisa acadêmica. Vale-se, para tanto, da articulação das reflexões acerca da linguagem desenvolvidas por Walter Benjamin (1892-1940) e Mikhail Bakhtin (1895-1975) à análise da produção teórica e cinematográfica de Pier Paolo Pasolini. Constata-se que o universo cinematográfico oferece subsídios para a utilização da imagem técnica na pesquisa em ciências humanas, ensejando a criação de narrativas imagéticas.

In this paper, I offer a comparative analysis of the political thoughts of twentieth century Iranian revolutionary thinker and sociologist Ali Shari’ati (1933–1977) and German-Jewish philosopher Walter Benjamin (1892–1940). Despite their conspicuously independent historical-theoretical trajectories, both Shari’ati and Benjamin engaged with theology and Marxism to create theological–political conceptions of the revolution of the oppressed. Shari’ati re-interpreted and re-animated Shia history from the angle of contemporary concerns to theorize a revolution against all forms of domination. In comparison, Benjamin fused Marxism with Jewish theology in his call to seize the possibilities of past failed revolutions in the present. Both Shari’ati and Benjamin conceptualized an active messianism led by each generation, eliminating the wait for the return of a messiah. As a result, each present moment takes on a messianic potential; the present plays an essential role to both thinkers. Past was also essential to both, because theology (through remembrance) had made the past sufferings incomplete to them. Both thinkers viewed past sufferings as an integral part of present struggles for justice in the form of remembrance (or yād or zekr for Shari’ati, and Zekher for Benjamin). I explore the ways Shari’ati and Benjamin theorized the role of the past in the present, remembrance, and messianism to create a dialectical relation between theology and Marxism to reciprocally transform and compliment both of them.

L’exil a été à maintes reprises lu comme une possible métaphore de la traduction, ou en tout cas comme une expérience structuralement proche de celle de la traduction. Walter Benjamin (1892-1940) et Carles Riba (1893-1959), tout en partant de la lecture de Hölderlin, et sans jamais arriver à se lire l’un l’autre, ont élaboré à la même époque une poétique de la traduction à la fois commune et antagonique. Benjamin, quant à lui, a spéculé sur la possibilité d’une « pure langue » exilée, comme on sait, à l’intérieur des différentes langues empiriques, tandis que Riba a travaillé le catalan noucentista – en tant que poète et traducteur – presque comme cette langue hypothétique supposée par Benjamin. L’objet du présent article est de mesurer la distance existant entre la pure langue (reine Sprache) de Benjamin et la langue vive (llengua viva) de Riba, toujours à partir de l’expérience de l’exil comme possible modèle anthropologique et structural de la traduction.

Gran parte del ideario del pensamiento filosófico y estético de Walter Benjamin (1892-1940) se valora en la compilación cronológica de Escritos, realizada por Guilio Schiavoni[1]. Desde su compromiso marxista romántico de la formación de una niñez y juventud proletaria, hasta la valoración genuina por los rastros, huellas y silencios de los artefactos culturales de la infancia alemana (juegos, juguetes y libros) imprescindibles para una “arqueología” histórica de la vida social de la cultura burguesa. Filósofo, teórico marxista, crítico cultural y coleccionista apasionado, “culto y feliz”. Benjamin, escrito tras escrito, busca el sentido histórico de la vida moderna y la tradición. [1] Guilio Schiavoni nació en Maiolati Spontini1, Italia (1948). Ha sido ensayista y traductor de la literatura alemana de los siglos XVIII y XX. Numerosas de sus publicaciones se concentran en monografías de los intelectuales, filósofos y literatos judeo-alemanes como Kafka, Freud y Benjamin.

O seguinte artigo busca apresentar um recuo histórico com o intuito de compreender como a tradicional concepção de livro foi reformulada no período de vanguarda, especialmente a russa, a partir da incorporação da fotografia em sua estrutura. Nesse processo, privilegiaremos o estudo sobre as contaminações entre cinema, literatura, revistas e jornais ilustrados, cartazes e design de exposições para que possamos compreender, de modo histórico, o aspecto híbrido dado ao livro fotográfico. Teremos como foco as produções e reflexões teóricas do artista El Lissitzky (1890-1941) e dos cineastas Dziga Vertov (1896-1954) e Sergei Eisenstein (1898-1948) em aproximação com os escritos do filósofo alemão Walter Benjamin (1892-1940).

En el presente trabajo se propone analizar la obra audiovisual Bienvenido, visitante (2008) del artista tailandés Navin Rawanchaikul (1971), a la luz de algunas formulaciones teóricas del filósofo alemán Walter Benjamin (1892-1940). Particularmente, se propone hacer un análisis del texto El Narrador (1936), en el cual Benjamin conceptualiza los términos de narración oral y experiencia. Se entiende que tales conceptos pueden ser interesantes claves analíticas, por cuanto la obra de Rawanchaikul aborda cuestiones como la experiencia del exilio y la identidad en el mundo global, reponiendo los relatos de distintas personas migrantes. De tal manera, el presente trabajo se asienta en una perspectiva interpretativa, en orden a la cual se intentará formular un diálogo en clave benjaminiana entre el arte de narrar y la obra de uno de los artistas asiáticos contemporáneos más resonantes de la actualidad.

A motivação para escrever este trabalho veio de uma visita à exposição “Passagens por Paris: arte moderna na capital do século XIX”, no Museu de Arte de São Paulo (MASP) em novembro de 2013, que era inspirada no texto “Paris Capital do Século XIX”, de autoria do filósofo Walter Benjamin (1892-1940). Nosso objetivo é discutir alguns aspectos da modernidade, tomando por base o ensaio de Benjamin, no qual o autor utiliza a expressão fantasmagoria para captar o significado do fetiche da mercadoria como processo social de constituição da modernidade. A partir das reflexões de Benjamin (2003), e secundariamente de Karl Marx acerca do fetiche da mercadoria, analisamos três poemas de autores considerados modernos: “Os Sete Velhos”, do francês Charles Baudelaire (1821-1867); “Num Bairro Moderno”, do português Cesário Verde (1855-1886); e “Ladeira da Misericórdia”, do brasileiro/baiano Godofredo Filho (1909-1992). Tentamos travar um diálogo dos poemas com cenas representadas em três obras de arte: “O Conforto Moderno dos Objetos”, de autoria do francês Edouard Vuillard (1868-1940), exibido na referida exposição do MASP; “Os Sete Velhos”; do holandês Jan Mensiga (1924-1980); e “Incêndio no Pelourinho”, do brasileiro/baiano João Alves (1906-1970), chamado por Jorge Amado de “o pintor da cidade”.

Abstract In this paper I consider the thought of two Jewish existentialists from the first half of the 20th century, showing how their critique of pantheistic and panentheistic thinking grounded novel ideas about politics, history and human thought. In place of a concept of history directed towards a teleological redemption of suffering in the future, Lev Shestov (1866–1938) and Benjamin Fondane (1898–1944) abandoned notions of philosophical rationality in order to avow a ‘reversal’ of history according to which historical suffering could be expiated through the unforeseeable powers of the divine. From here, I look at the work of a contemporaneous philosopher – Walter Benjamin (1892–1940) – for the way in which his own conception of history as ‘rescuing’ the past provides an alternative panentheism, one according to which political responsibility derives from a need to redeem God whose existence has been exiled throughout the mundane world.

Neste artigo, tratar-se-á a problematização apresentada por Walter Benjamin (1892-1940) acerca da relação entre vida e direito. Para o autor berlinense, o direito, longe de ser uma elaboração racional digna de culto, carrega consigo um caráter de instrumentalização que lhe possibilita subjugar a vida e dominá-la. Assim, apresentaremos as teses precipuamente contidas no texto sobre a violência, datado de 1921, as quais nos apontam o caráter mítico do direito e o caráter violento de seus contratos. Apresentar-se-á, também, a tese defendida pelo autor que coloca meios puros na política como forma de agir não violento. Conclui-se que a vida autêntica é histórica, para além da “mera vida” orgânica e de toda e qualquer representação jurídica ou violenta do direito.

In the late works of María Zambrano (1904–1991), the author presents exile as a particular kind of experience, by which the structure and arquitectonics of human existence become visible. Similarly, in his posthumously published Passagen-Werk Walter Benjamin (1892–1940) introduces the flanêur – which he repeatedly likens to the immigrant or exile – as the representation of a particular kind of gaze, disclosing the arquitectonics and structure of capitalist bourgeois society. In this article, I suggest that the notions of figura and dialektisches Bild from the authors’ respective works are connected to an exile mode of perception, centred on the problem of translatability across cultural and linguistic borders. I believe that the similarities between the two authors can be explained by a reading which contextualizes them as a political generation with a shared experience of exilic boundary-crossing.

<p><em>This article focuses on the theory of German philosopher and literature critic Walter Benjamin (1892-1940) on the role of children</em><em>’</em><em>s literature and the degree by which his aesthetical theory, as expressed in the early 20th century, may be applied in modern education. Particularly in preschool ages, children’s literature plays a defining role in children</em><em>’</em><em>s development, stimulating learning memory and providing the foundations for the child</em><em>’</em><em>s perception of the world around him/her. Children</em><em>’</em><em>s literature and illustrations of children’s books, introduce children in learning and writing. In his theory, Benjamin describes how literature, and in particular the magic perceived by children’s mentality in fairytale, can and should be an integral part of education that does not apply standardized pedagogic norms or psychological interpretations, but promotes the way in which the child observes the world, imagination and intuitive perception.</em></p>

Este artigo descreve alguns desequilíbrios nas relações entre tendência política e textualidade corporal na representação da figura histórica do trabalhador na obra l’usine de étienne decroux (1898-1991), a fim de elaborar uma reflexão sobre o papel político da arte. Apropriando-se dos conceitos benjaminianos de tendência política e qualidade literária, tomados aqui por seus correlatos – conteúdo político e textualidade corporal – é defendida a ideia de que a relação dialética entre espanto e encanto frente às novas coreografias da modernidade, especificamente àquelas determinadas pelas novas relações de produção industrial, distendem formalmente o potencial crítico da obra. Considerando o contexto histórico dos dois “personagens” deste artigo – a frança de decroux e a alemanha de walter benjamin (1892-1940) no período do entre-guerras – estes desencaixes formais são compreendidos como registros sismográficos de alguns tremores sociais da modernidade.

The article analyzes material pertaining to the museums in Moscow as described in the diaries of German philosopher Walter Benjamin (1892–1940), American art historian and the first director of the Museum of Modern Art in New York City Alfred H. Barr Jr. (1902–1981) and his associate director Jere Abbott (1897–1982). They wrote the diaries during their visits to Moscow in the second half of the 1920s. The reminiscences of the three foreign cultural figures contain important observations and interesting opinions about the workings of museums and give us an extensive picture of the life and activities of Moscow museums in the 1920s. Excerpts from Jere Abbott’s diary have been translated into Russian for the first time by the author of this article. Studying the sources and analyzing the documents from the museological perspective has helped to broaden our knowledge about the art museums in Moscow in the 1920s.

Abstract The present essay contextualizes the poet, scholar, editor, and translator Charles Bernstein (b. 1950), as an artist and practitioner working within a speculative translingual (language-crossing) field and tradition of expanded Yiddish. Reading Bernstein in relation to other expanded-Yiddish figures, such as his elders, Hannah Weiner (1928–77) and Jerome Rothenberg (b. 1931), and ancestor, Walter Benjamin (1892–1940), among others, this essay makes a case for Bernstein as a writer who works from a position of antinomian Jewish translational originlessness, and a diasporic poetics of “need” (à la Charles Reznikoff), in which every source can be understood as a translation and every translation might be treated as a potential source. The coda of the essay addresses the stakes of Bernstein's praxes from the perspective of widespread modern and contemporary anti-Semitism and Jewish self-hatred and concludes with the first ever translation of Bernstein's poetry into Yiddish proper.

The paradox of the Tower of Babel and the underlying story behind the confusion of tongues are inextricably intertwined with various linguistic differences across the world. The tool of language, regardless of whether it is a gift of God, or a purely human artifact, or whatever one may choose to believe regarding its origins, is a tool that allows us to communicate with each other, thereby opening the door for dialogue with the ‘Other.’ As the myth of Babel began influencing several scholars in the twentieth century, linguistic theories inevitably elicited great interest among many acclaimed scholars, including Franz Kafka (1883–1924), Walter Benjamin (1892–1940) and Jacques Derrida (1930–2004). To that end, the fragmented mode of languages is a fundamental principle in their discourse on the confusion of tongues. In this article, I argue that Kafka’s writing, particularly the notion of the “piecemeal construction” in “The Great Wall of China,”1 has influenced Benjamin’s theory of translation and echoed Derrida’s respective view thereof.

Este artigo investiga as possibilidades da inserção do cinema na sala de aula sob dois enfoques: um filosófico, discutindo o cinema na educação, e outro pragmático, teorizando a prática educativa do cinema em sala de aula. Propõe construir um modelo de análise do filme a partir de conceitos elaborados pelo pensador alemão Walter Benjamin (1892-1940), como espaço imagético e como técnica interna da obra de arte. Dialoga com os teóricos Marc Ferro e Fredric Jameson e os diretores Glauber Rocha (1939-1981) e Jean-Luc Godard, para construir uma inteligibilidade do cinema aplicado à educação. Procura superar a dicotomia entre cinema comercial e cinema de arte, defendendo a tese que entretenimento e conhecimento não se excluem. Entende que as contribuições da História, da Antropologia, da Sociologia sobre o cinema, podem enriquecer uma teoria do cinema do ponto de vista da educação ou de uma pedagogia da imagem e do som. Vê o cinema inserido no processo de produção capitalista e se propõe a analisar o fetichismo para se livrar do fetiche.

Although Vojislav Vučković (1910-1942) did not leave an elaborate and selfcontained theoretical system behind, his creativity can nevertheless be perceived from a relatively integral perspective, thanks to collections of papers published posthumously. It should be kept in mind that our great composer lost his life at the pinnacle of productivity; hence, we can safely say that his work was interrupted in every sense of the word, and thus left somewhat fragmentary. There is a very significant difference between the views on problem solving he advocated in his early essays and those he promoted before and during the war, given that the timespan involved is just ten years (1932-1942). Based on these theoretical wanderings, one could assume that Vučković was following the intensive changes on the West European theoretical stage of his time, endeavouring to shape his standpoints in a dialogue with the main theoretical currents. In this text, I will try to highlight the possible connections between some of Vuþkoviügs views and the theories which left an important imprint on the cultural life of Europe between the wars, such as the theory of reflection by Todor Pavlov (1890-1977) and critical (aesthetical) theory by Theodor Adorno (1903-1969) and Walter Benjamin (1892-1940). It should be said that Vučković used Pavlov's theory directly, but in a quite distinctive way which, alongside the theoretical trends of the upcoming generation of Marxist thinkers, was close to the critical standpoints of distinguished members of the Frankfurt School, who in those years, like Vučković, were writing new chapters of the history of aesthetics

ABSTRACT“Welcome to Caesars, I am your slave” intoned toga‐clad cocktail waitresses wearing high‐heeled sandals on the opening day of this stately pleasure dome. This single sentence typified the intent of the creator and builder of this sumptuous development, Jay Sarno (1922‐1984). He dreamed of building a casino‐hotel that afforded every “reveler”—a unique gaming experience: posh accommodations, fine dining, star‐studded entertainment, and up‐scale shopping. Sarno chose replicas of the world's most famous art to adorn his creation. This paper analyzes the realization of his dream through the theory of two philosophers fascinated by the reproduction of images. Roland Barthes (1915‐1980) elaborated upon the objective nature of art and what the viewer brings to it. Walter Benjamin (1892‐1940) developed the notion of phantasmagoria to describe the illusions of sound and light shows in Paris, an apt metaphor for this establishment in Paradise. Benjamin's thoughts on lithographs illuminate the characteristics of the art in Caesars: accessibility, flexibility, decorativeness, and anonymity. These attributes transformed this casino‐resort into an icon of popular culture. The authors take a deeper look into the simulacrum, pastiche, and theme of a place that caters to men's wants and desires. The authors also discuss the Forum, an extension of Caesars Entertainment Corporation's holdings. The Forum provides an opportunity for consumers to shop without guilt for the most exclusive products the world has to offer in a Roman themed environment. The authors conclude with an analysis of the Forum as a cathedral of consumption, an entrepreneur's dream where people pay, not for the intrinsic worth of goods and services; but for the status attached to them.

Trata-se da resenha das narrativas radiofônicas de Walter Benjamin (1892-1940) direcionadas ao público infantil. O texto dialoga com o restante da produção benjaminiana, com o propósito de compreender tanto o livro em si, como as motivações e o método do autor ao abordar a pedagogia. O livro supracitado, portanto, não pode ser compreendido se analisado como independente do restante da produção de Benjamin, levando-se em conta a ascensão do fascismo e seus elementos complexos como a sintonia de marxismo e messianismo.

Aby Warburg (1866-1929) e Walter Benjamin (1892-1940), judeus e intelectuais nascidos na Alemanha da segunda metade do século XIX, partilham da ideia de suspensão do movimento do curso linear da História e têm uma visão crítica e estética das técnicas. Ligados a universos relativamente distintos, nunca chegaram a se encontrar, a despeito das tentativas de Benjamin. Dentre as muitas correspondências entre seus pensamentos, nos deteremos, neste trabalho, em dois projetos inacabados – o Atlas Mnemosyne, de Aby Warburg, e Passagens, de Walter Benjamin – com o intuito de refletir sobre o legado desses autores para os métodos de investigação estética, especialmente no que se refere às imagens.

Resumo Este trabalho analisa comparativamente alguns aspectos convergentes da obra do pensador alemão Walter Benjamin (1892–1940) e do escritor uruguaio Eduardo Galeano (1940–2015). Apresentam-se, assim, certas afinidades entre os dois autores no que diz respeito à proposição de uma crítica à história oficial, tal como concebida a partir das classes dominantes, em prol da recuperação da memória de grupos sociais submetidos à violência e à opressão. Destacam-se, ainda, correspondências metodológicas acerca do emprego de analogias e metáforas por ambos os autores.

Escrito como homenagem por ocasião do centenário da 1ª edição de O espírito da utopia (1918) de Ernst Bloch (1885-1977), o texto relembra o conteúdo da obra e o significado da utopia na modernidade; e ao fazer referência à Tese 9 sobre a História, de Walter Benjamin(1892-1940), alude aos clamores que, em nossos dias, testemunham a sobrevivência do espírito utópico. Palavras-chave: Bloch, espírito, utopia, música, história, Benjamin.

Este texto investiga a compreensão do filósofo Walter Benjamin (1892-1940) sobre a educação a partir de sua produção juvenil. Busca mostrar como a preocupação com o tempo presente segundo a compreensão descontínua da história, na qual se valoriza o novo e o diferente, não o velho e o mesmo, orienta a investigação de Benjamin sobre a vida dos estudantes, o ensino, a universidade e a experiência da juventude. No texto, é apontado como, nesses temas, surgem diretrizes fundamentais do pensamento filosófico mais tardio de Benjamin sobre o tempo, especialmente no que concerne a salvar a tradição do conformismo.

O artigo apresenta alguns aspectos da juventude do pensador Walter Benjamin (1892-1940). Esse período foi marcado pela recepção de uma proposta pedagógica que visava “reformar a vida” reformando, para isto, a escola e a cultura juvenil. Benjamin foi influenciado por essa proposta ao estudar em um colégio reformista em Haubinda e teve a figura do pedagogo progressista Gustav Wyneken (1875-1964), diretor da instituição, como sua primeira referência. Desse período restaram marcas que acompanharam a obra do filósofo, sobretudo aquelas que relativas à peculiaridade de sua crítica da cultura e pautadas nas noções de vida, de experiência e de formação.

This contribution is the audio recording of a talk that Jaeho Kang gave at the University of Westminster in the Communication and Media Research Institute's (CAMRI) Research Seminar Series on October 29, 2014.Walter Benjamin (1892-1940) is one of the most original and perceptive German literary and cultural critics, but his unique insight into the profound impact of the media on modernity has received a good deal less attention. Based on my book, 'Walter Benjamin and the Media: The Spectacle of Modernity' (2014, see http://www.polity.co.uk/book.asp?ref=9780745645209), I will talk about Benjamin’s critical and provocative writings on the intersection between media and modern experience with particular reference to phantasmagoria, aesthetic public space, and urban spectacle. In so doing, I will clarify Benjamin’s distinctive and enduring contribution to contemporary media studies.

En este artículo se lleva a cabo una lectura paralela de algunos textos de dos pensadores del siglo xx: el ruso Mijaíl Bajtín (1895-1975) y el alemán Walter Benjamin (1892-1940). Realizada con una intención heurística, tal lectura está condicionada, como cualquier otra, por la circunstancia histórica, geográfica, social del lector, y por tal circunstancia se manifiesta como necesaria. Tal vez revele más sobre el lector que sobre el objeto; aun así, se realiza con la herramienta analítica proporcionada sobre todo por Bajtín y está provocada por la heterodoxia benjaminiana vista asimismo desde los conceptos del ruso. De igual manera, la lectura obedece a un malestar provocado por una inconsistencia ética con que estos productos intelectuales se han manipulado en el mercado académico.

Na esteira da reflexão tradutológica de Friedrich Schleimacher (1768-1834) e de Walter Benjamin (1892-1940), o tradutor e teórico francês Antoine Berman (1942-1991) tornou-se um importante expoente das atuais reflexões na área de Estudos da Tradução ao fazer da tradução um espaço de crítica às tradicionais abordagens logocêntricas dessa teoria/prática; ao fazer dela, assim como o fez Jacques Derrida (1930-2004) na Filosofia, um espaço que possibilita a reformulação dessa relação com o Outro e com tudo que isso pode trazer à superfície do texto traduzido. Diante dessa evidente proximidade com a perspectiva de Jacques Derrida (1930-2004), gostaríamos, no presente trabalho, de mostrar algumas associações entre seus trabalhos.

Impulsionados pelos acontecimentos de seu tempo, encontramos como ponto comum em Walter Benjamin (1892-1940) e Sigmund Freud (1856-1939) a crítica que realizam à cultura. Este artigo possui como objetivo principal examinar os conceitos de experiência (Erfahrung) e vivência (Erlebnis) pensados por Benjamin, evidenciando como as noções de consciência e memória, de Freud, estimularam a formulação desses conceitos benjaminianos e da teoria do choque. Para isso, discute-se pontos importantes de Experiência e Pobreza (1994), O Narrador (1994), Sobre alguns temas em Baudelaire (1989) e Além do Princípio do Prazer (2010). Por fim, relaciona-se a atrofia da experiência à temática do Eros, com base nas considerações de Georges Bataille (2017) e Byung-Chul Han (2017) sobre o erotismo. Como resultado, constata-se a atualidade das considerações benjaminianas e freudianas para pensarmos o atual contexto de nossas sociedades, no que diz respeito à construção de memórias coletivas e à experiência com o Outro.

Summary There is increasing recognition of the importance of the humanities and arts in medical and psychiatric training. We explore the poetry of Charles Baudelaire (1821–1867) and its evocations of depression through themes of mood, time and self-consciousness and discuss their relation to images of ‘spleen’, the ‘snuffling clock’ and the ‘sinister mirror’. Following the literary critical commentaries of Walter Benjamin (1892–1940) and Jean Starobinski (1920–2019) we identify some of their roots in the poet's experience of the rapid and alienating urbanisation of 19th-century Paris. Appreciation of the rich vocabulary of poetry and the images it generates adds depth to clinical practice by painting vivid pictures of subjective experience, including subjective experience of the ‘social’ as part of the biopsychosocial constellation.

O presente artigo propõe uma reflexão sobre uma tarde performática no Sítio Arqueológico de Pompeia, Itália, cidade destruída por uma erupção do vulcão Vesúvio cujas ruínas permanecem sendo alvo de turistas. Assim, tendo tal lugar como catalisador poético, como o artista se entende em um espaço turístico? Como ele pode se portar? Para responder tais questionamentos, trago as teorias da Deriva de Guy Debord (1931 – 1984) e sobre o flâneur de Walter Benjamin (1892 – 1940). Artista-turista é esse que flana pelas ruas procurando (ou não) algo que não sabe o que é, derivando, sentindo o sabor do urbanismo pelo seu tato. O texto explora como foi a viagem-obra às ruínas, como a performance se fez e os desdobramentos poéticos do registro além de uma reflexão sobre o que é ser turista e artista ao mesmo tempo.

In Farewell to the Working Class,1 (1982), a book dedicated to his wife Dorine, André Gorz (1923–2007) offers the reader ‘Nine Theses for a Future Left’. Here, I borrow and play with this nomenclature for a series of reflections on the two volumes which constitute Gorz’s most personal writings and which book-end, so to speak, his oeuvre: The Traitor and Letter to D. A Love Story. More precisely, this is a viewing of the former text through the lens of the latter. The ‘steps’ presented here are not those of a linear path and progression but rather, like steps in a dance, move backwards and forwards, turn and circle, trace and retrace ephemeral patterns. In following in such steps, I contrast Gorz’s account of the self with another set of explicitly non-autobiographical autobiographical writings, those of the German Critical Theorist Walter Benjamin (1892–1940). Central to both writers is an understanding of particular traumatic experiences and past catastrophes, and an abiding concern with overcoming contemporary alienation through play and dance, love and eros.

Walter Benjamin (1892-1940) inspirou-se na obra de Charles Baudelaire (1821-1867), e de Marcel Proust (1871-1922) para falar de um estado de ser e estar no mundo ao refletir sobre seus deslocamentos nas cidades de Berlim ou Paris, a partir de um "trabalho" da memória afetiva e do pensar a «si-mesmo» na paisagem urbana. O personagem baudelairiano, o flâneur, caminha na cidade: um percurso sem compromissos, sem destino fixo. O estado de alma deste personagem-tipo é de indiferença, mas seus passos traçam uma trajetória, um itinerário que concebe a cidade, o movimento urbano, a massa efêmera, o processo de civilização. Logo, esta não é uma caminhada inocente. A cidade é estrutura e relações sociais, economia e mercado; é política, estética e poesia. A cidade é igualmente tensão, anonimato, indiferença, desprezo, agonia, crise e violência. Assim, a cidade do andarilho tem uma história, nem a melhor nem a pior do mundo, simplesmente histórias que configuram referências práticas e simbólicas em que se reconhece ou se constrange nas ruas que perambula, lugares que conhece ou desconhece, espaços que gosta ou desgosta, contextos que lhe atraem ou passam desapercebidos. Objetos, eventos não verbais ou verbais, ruídos ou matérias atiram-lhe a atenção sensorial que delineia seu trajeto, seus atos. A cidade acolhe seus passos, e ela passa a existir na existência deste que vive, na instância de seu itinerário, um traçado que encobre um sentido, algo que será desvendado ao seu final. Espaços, cheiros, barulhos, pessoas, objetos e naturezas que o caminhante experiência em sua itinerância, não sem figuras pré-concebidas. Sua caminhada é de natureza egocêntrica, funcional, mas também poética, fabulatória e afetiva, e por que não dizer, uma caminhada cosmológica como os jogos de memória que os tempos reencontrados proustinianos encenam. Walter Benjamin, em seu texto Sur quelques thèmes baudelairiens (Paris, 1939), lembra que a multidão metropolitana na formação do mundo industrial despertava medo, repugnância e horror naqueles que a viam pela primeira vez. Da mesma forma, o impacto das transformações urbanas, tão bem tratadas no conjunto de autores que de modo geral são reunidos na denominação Escola de Chicago, irá inspirar uma geração de antropólogos que privilegia, desde então (anos 1930), o tema do viver na cidade como cenário primordial de análise das mudanças e transformações. Sob a ótica destes autores, a vida citadina é, portanto, agitada, vertiginosa mesmo, ou monótona e repetitiva, dependendo da adesão ou não dos seus habitantes aos tempos e espaços vividos, ritmados pelos movimentos incessantes das imagens de cidade que habitam seus pensamentos em constante mutação. Descrever a cidade, sob um tal ponto de vista, é conhecê-la como locus de interações sociais e trajetórias singulares de grupos e/ou indivíduos cujas rotinas estão referidas a uma tradição cultural que as transcende. Conhecer uma cidade é, assim, não só apropriar-se de parte de um conhecimento do mundo, ou seja, os saberes e fazeres dos habitantes e o que conheço desta experiência de pesquisa junto a eles, quanto desvendar o conhecimento na busca de situar meu próprio ser em relação ao ser do Outro na cidade. Inspiradas nas obras científicas e literárias sobre o "passear e caminhar", a idéia de desenvolver etnografias na rua nasceu com a proposta de projeto de pesquisa intitulado «Estudo antropológico de itinerários urbanos, memória coletiva e formas de sociabilidade no mundo urbano contemporâneo». Como pesquisadoras e, desenvolvendo a atividade de formar bolsistas de iniciação científica ao método antropológico, propomos ao aluno tecer os seus próprios percursos etnográficos na cidade de Porto Alegre, contexto de uma investigação antropológica sobre a dinâmica das interações cotidianas e representações sociais “na” e “da” cidade. No decorrer desta experiência etnográfica na rua, no bairro, na cidade, a introdução de instrumentos audiovisuais como a câmera fotográfica e/ou a câmera de vídeo, passam a fazer parte do seu olhar e atitude de coleta de dados de pesquisa: o exercício de etnografia de rua, inclui então, "a câmera na mão".

Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken French about how I never forgot my umbrella, how desolated I was that he had mislaid his, and would he perhaps desire mine? After a small silence, where he and the other students side-eyed me warily, he declined. For years I dined on this story of meeting a celebrity academic, cheerfully re-enacting my linguistic ineptitude. Nearly a decade later I was taken aback when I overheard a lecturer in philosophy at the University of Sydney re-telling my encounter as a witty anecdote, where an early career academic teased Derrida with a masterful quip, quoting back to him his own attention to someone else’s quote. It turned out that Spurs, one of Derrida’s more obscure early essays, employs an extended riff on an inexplicable citation found in inverted commas in the margins of Nietzsche’s papers: “J’ai oublié mon parapluie” (“I have forgotten my umbrella”). My clumsy response to a polite enquiry was recast in a process of Chinese whispers in my academic community as a snappy spur-of-the-moment witticism. This re-telling didn’t just selectively edit my encounter, but remixed it with a meta-narrative that I had myself referenced, albeit unknowingly. My ongoing interest in the more playful breaches of scholarly conventions of quotation and attribution can be traced back to this incident, where my own presentation of an academic self was appropriated and remixed from fumbler to quipster. I’ve also been struck throughout my teaching career by the seeming disconnect between the stringent academic rules for referencing and citation and the everyday strategies of appropriation that are inherent to popular remix culture. I’m taking the opportunity in this paper to reflect on the practice of scholarly quotation itself, before examining some recent creative provocations to the academic ‘author’ situated inventively at the crossroad between scholarly convention and remix culture. Early in his own teaching career at Oxford University Lewis Carroll, wrote to his younger siblings describing the importance of maintaining his dignity as a new tutor. He outlines the distance his college was at pains to maintain between teachers and their students: “otherwise, you know, they are not humble enough”. Carroll playfully describes the set-up of a tutor sitting at his desk, behind closed doors and without access to today’s communication technologies, relying on a series of college ‘scouts’ to convey information down corridors and staircases to the confused student waiting for instruction below. The lectures, according to Carroll, went something like this: Tutor: What is twice three?Scout: What’s a rice-tree?Sub-scout: When is ice free?Sub-sub-scout: What’s a nice fee??Student (timidly): Half a guinea.Sub-sub-scout: Can’t forge any!Sub-scout: Ho for jinny!Scout: Don’t be a ninny!Tutor (looking offended, tries another question): Divide a hundred by twelve.Scout: Provide wonderful bells!Sub-scout: Go ride under it yourself!Sub-sub-scout: Deride the dunderhead elf!Pupil (surprised): What do you mean?Sub-sub-scout: Doings between!Sub-scout: Blue is the screen!Scout: Soup tureen! And so the lecture proceeds… Carroll’s parody of academic miscommunication and misquoting was reproduced by Pierre Bourdieu at the opening of the book Academic Discourse to illustrate the failures of pedagogical practice in higher education in the mid 1960s, when he found scholarly language relied on codes that were “destined to dazzle rather than to enlighten” (3). Bourdieu et al found that students struggled to reproduce appropriately scholarly discourse and were constrained to write in a badly understood and poorly mastered language, finding reassurance in what he called a ‘rhetoric of despair’: “through a kind of incantatory or sacrificial rite, they try to call up and reinstate the tropes, schemas or words which to them distinguish professorial language” (4). The result was bad writing that karaoke-ed a pseudo academic discourse, accompanied by a habit of thoughtlessly patching together other peoples’ words and phrases. Such sloppy quoting activities of course invite the scholarly taboo of plagiarism or its extreme opposite, hypercitation. Elsewhere, Jacques Derrida developed an important theory of citationality and language, but it is intriguing to note his own considerable unease with conventional acknowledgement practices, of quoting and being quoted: I would like to spare you the tedium, the waste of time, and the subservience that always accompany the classic pedagogical procedures of forging links, referring back to past premises or arguments, justifying one’s own trajectory, method, system, and more or less skilful transitions, re-establishing continuity, and so on. These are but some of the imperatives of classical pedagogy with which, to be sure, one can never break once and for all. Yet, if you were to submit to them rigorously, they would very soon reduce you to silence, tautology and tiresome repetition. (The Ear of the Other, 3) This weariness with a procedural hyper-focus on referencing conventions underlines Derrida’s disquiet with the self-protecting, self-promoting and self-justifying practices that bolster pedagogical tradition and yet inhibit real scholarly work, and risk silencing the authorial voice. Today, remix offers new life to quoting. Media theorist Lev Manovich resisted the notion that the practice of ‘quotation’ was the historical precedent for remixing, aligning it instead to the authorship practice of music ‘sampling’ made possible by new electronic and digital technology. Eduardo Navas agrees that sampling is the key element that makes the act of remixing possible, but links its principles not just to music but to the preoccupation with reading and writing as an extended cultural practice beyond textual writing onto all forms of media (8). A crucial point for Navas is that while remix appropriates and reworks its source material, it relies on the practice of citation to work properly: too close to the original means the remix risks being dismissed as derivative, but at the same time the remixer can’t rely on a source always being known or recognised (7). In other words, the conceptual strategies of remix must rely on some form of referencing or citation of the ideas it sources. It is inarguable that advances in digital technologies have expanded the capacity of scholars to search, cut/copy & paste, collate and link to their research sources. New theoretical and methodological frameworks are being developed to take account of these changing conditions of academic work. For instance, Annette Markham proposes a ‘remix methodology’ for qualitative enquiry, arguing that remix is a powerful tool for thinking about an interpretive and adaptive research practice that takes account of the complexity of contemporary cultural contexts. In a similar vein Cheré Harden Blair has used remix as a theoretical framework to grapple with the issue of plagiarism in the postmodern classroom. If, following Roland Barthes, all writing is “a tissue of quotations drawn from innumerable centers of culture” (146), and if all writing is therefore rewriting, then punishing students for plagiarism becomes problematic. Blair argues that since scholarly writing has become a mosaic of digital and textual productions, then teaching must follow suit, especially since teaching, as a dynamic, shifting and intertextual enterprise, is more suited to the digital revolution than traditional, fixed writing (175). She proposes that teachers provide a space in which remixing, appropriation, patch-writing and even piracy could be allowable, even useful and productive: “a space in which the line is blurry not because students are ignorant of what is right or appropriate, or because digital text somehow contains inherent temptations to plagiarise, but because digital media has, in fact, blurred the line” (183). The clashes between remix and scholarly rules of attribution are directly addressed by the pedagogical provocations of conceptual poet Kenneth Goldsmith, who has developed a program of ‘uncreative writing’ at the University of Pennsylvania, where, among other plagiaristic tasks, he forces students to transcribe whole passages from books, or to download essays from online paper mills and defend them as their own, marking down students who show a ‘shred of originality’. In his own writing and performances, which depend almost exclusively on strategies of appropriation, plagiarism and recontextualisation of often banal sources like traffic reports, Goldsmith says that he is working to de-familiarise normative structures of language. For Goldsmith, reframing language into another context allows it to become new again, so that “we don’t need the new sentence, the old sentence re-framed is good enough”. Goldsmith argues for the role of the contemporary academic and creative writer as an intelligent agent in the management of masses of information. He describes his changing perception of his own work: “I used to be an artist, then I became a poet; then a writer. Now when asked, I simply refer to myself as a word processor” (Perloff 147). For him, what is of interest to the twenty-first century is not so much the quote that ‘rips’ or tears words out of their original context, but finding ways to make new ‘wholes’ out of the accumulations, filterings and remixing of existing words and sentences. Another extraordinary example of the blurring of lines between text, author and the discursive peculiarities of digital media can be found in Jonathan Lethem’s essay ‘An Ecstasy of Influence: A Plagiarism’, which first appeared in Harpers Magazine in 2007. While this essay is about the topic of plagiarism, it is itself plagiarized, composed of quotes that have been woven seamlessly together into a composite whole. Although Lethem provides a key at the end with a list of his sources, he has removed in-text citations and quotation marks, even while directly discussing the practices of mis-quotation and mis-attribution throughout the essay itself. Towards the end of the essay can be found the paragraph: Any text is woven entirely with citations, references, echoes, cultural languages, which cut across it through and through in a vast stereophony. The citations that go to make up a text are anonymous, untraceable, and yet already read; they are quotations without inverted commas. The kernel, the soul — let us go further and say the substance, the bulk, the actual and valuable material of all human utterances — is plagiarism. …By necessity, by proclivity, and by delight, we all quote. Neurological study has lately shown that memory, imagination, and consciousness itself is stitched, quilted, pastiched. If we cut-and-paste ourselves, might we not forgive it of our artworks? (68) Overall, Lethem’s self-reflexive pro-plagiarism essay reminds the reader not only of how ideas in literature have been continuously recycled, quoted, appropriated and remixed, but of how open-source cultures are vital for the creation of new works. Lethem (re)produces rather than authors a body of text that is haunted by ever present/absent quotation marks and references. Zara Dinnen suggests that Lethem’s essay, like almost all contemporary texts produced on a computer, is a provocation to once again re-theorise the notion of the author, as not a rigid point of origin but instead “a relay of alternative and composite modes of production” (212), extending Manovich’s notion of the role of author in the digital age of being perhaps closest to that of a DJ. But Lethem’s essay, however surprising and masterfully intertextual, was produced and disseminated as a linear ‘static’ text. On the other hand, Mark Amerika’s remixthebook project first started out as a series of theoretical performances on his Professor VJ blog and was then extended into a multitrack composition of “applied remixology” that features sampled phrases and ideas from a range of artistic, literary, musical, theoretical and philosophical sources. Wanting his project to be received not as a book but as a hybridised publication and performance art project that appears in both print and digital forms, remixthebook was simultaneously published in a prestigious university press and a website that works as an online hub and teaching tool to test out the theories. In this way, Amerika expands the concept of writing to include multimedia forms composed for both networked environments and also experiments with what he terms “creative risk management” where the artist, also a scholar and a teacher, is “willing to drop all intellectual pretence and turn his theoretical agenda into (a) speculative play” (xi). He explains his process halfway through the print book: Other times we who create innovative works of remix artare fully self-conscious of the rival lineagewe spring forth fromand knowingly take on other remixological styles just to seewhat happens when we move insideother writers’ bodies (of work)This is when remixologically inhabitingthe spirit of another writer’s stylistic tendenciesor at least the subconsciously imagined writerly gesturesthat illuminate his or her live spontaneous performancefeels more like an embodied praxis In some ways this all seems so obvious to me:I mean what is a writer anyway buta simultaneous and continuous fusion ofremixologically inhabited bodies of work? (109) Amerika mashes up the jargon of academic writing with avant-pop forms of digital rhetoric in order to “move inside other writers’ bodies (of work)” in order to test out his theoretical agenda in an “embodied praxis” at the same time that he shakes up the way that contemporary scholarship itself is performed. The remixthebook project inevitably recalls one of the great early-twentieth century plays with scholarly quotation, Walter Benjamin’s The Arcades Project. Instead of avoiding conventional quoting, footnoting and referencing, these are the very fabric of Benjamin’s sprawling project, composed entirely of quotes drawn from nineteenth century philosophy and literature. This early scholarly ‘remixing’ project has been described as bewildering and oppressive, but which others still find relevant and inspirational. Marjorie Perloff, for instance, finds the ‘passages’ in Benjamin’s arcades have “become the digital passages we take through websites and YouTube videos, navigating our way from one Google link to another and over the bridges provided by our favourite search engines and web pages" (49). For Benjamin, the process of collecting quotes was addictive. Hannah Arendt describes his habit of carrying little black notebooks in which "he tirelessly entered in the form of quotations what daily living and reading netted him in the way of 'pearls' and 'coral'. On occasion he read from them aloud, showed them around like items from a choice and precious collection" (45). A similar practice of everyday hypercitation can be found in the contemporary Australian performance artist Danielle Freakley’s project, The Quote Generator. For what was intended in 2006 to be a three year project, but which is still ongoing, Freakley takes the delirious pleasure of finding and fitting the perfect quote to fit an occasion to an extreme. Unlike Benjamin, Freakley didn’t collect and collate quotes, she then relied on them to navigate her way through her daily interactions. As The Quote Generator, Freakley spoke only in quotations drawn from film, literature and popular culture, immediately following each quote with its correct in-text reference, familiar to academic writers as the ‘author/date’ citation system. The awkwardness and seeming artificiality of even short exchanges with someone who responds only in quotes might be bewildering enough, but the inclusion of the citation after the quote maddeningly interrupts and, at the same time, adds another metalevel to a conversation where even the simple platitude ‘thank you’ might be followed by an attribution to ‘Deep Throat 1972’. Longer exchanges become increasingly overwhelming, as Freakley’s piling of quote on quote, and sometimes repeating quotes, demands an attentive listener, as is evident in a 2008 interview with Andrew Denton on the ABC’s Enough Rope: Andrew Denton’s Enough Rope (2008) Denton: So, you’ve been doing this for three years??Freakley: Yes, Optus 1991Denton: How do people respond to you speaking in such an unnatural way?Freakley: It changes, David Bowie 1991. On the streets AKA Breakdance 1984, most people that I know think that I am crazy, Billy Thorpe 1972, a nigger like me is going insane, Cyprus Hill 1979, making as much sense as a Japanese instruction manual, Red Dwarf 1993. Video documentation of Freakley’s encounters with unsuspecting members of the public reveal how frustrating the inclusion of ‘spoken’ references can be, let alone how taken aback people are on realising they never get Freakley’s own words, but are instead receiving layers of quotations. The frustration can quickly turn hostile (Denton at one point tells Freakley to “shut up”) or can prove contaminatory, as people attempt to match or one-up her quotes (see Cook's interview 8). Apparently, when Freakley continued her commitment to the performance at a Perth Centerlink, the staff sent her to a psychiatrist and she was diagnosed with an obsessive-compulsive disorder, then prescribed medication (Schwartzkoff 4). While Benjamin's The Arcades Project invites the reader to scroll through its pages as a kind of textual flaneur, Freakley herself becomes a walking and talking word processor, extending the possibilities of Amerika’s “embodied praxis” in an inescapable remix of other people’s words and phrases. At the beginning of the project, Freakley organised a card collection of quotes categorised into possible conversation topics, and devised a ‘harness’ for easy access. Image: Danielle Freakley’s The Quote Generator harness Eventually, however, Freakley was able to rely on her own memory of an astounding number of quotations, becoming a “near mechanical vessel” (Gottlieb 2009), or, according to her own manifesto, a “regurgitation library to live by”: The Quote Generator reads, and researches as it speaks. The Quote Generator is both the reader and composer/editor. The Quote Generator is not an actor spouting lines on a stage. The Quote Generator assimilates others lines into everyday social life … The Quote Generator, tries to find its own voice, an understanding through throbbing collations of others, constantly gluttonously referencing. Much academic writing quotes/references ravenously. New things cannot be said without constant referral, acknowledgement to what has been already, the intricate detective work in the barking of the academic dog. By her unrelenting appropriation and regurgitating of quotations, Freakley uses sampling as a technique for an extended performance that draws attention to the remixology of everyday life. By replacing conversation with a hyper-insistence on quotes and their simultaneous citation, she draws attention to the artificiality and inescapability of the ‘codes’ that make up not just ordinary conversations, but also conventional academic discourse, what she calls the “barking of the academic dog”. Freakley’s performance has pushed the scholarly conventions of quoting and referencing to their furthest extreme, in what has been described by Daine Singer as a kind of “endurance art” that relies, in large part, on an antagonistic relationship to its audience. In his now legendary 1969 “Double Session” seminar, Derrida, too, experimented with the pedagogical performance of the (re)producing author, teasing his earnest academic audience. It is reported that the seminar began in a dimly lit room lined with blackboards covered with quotations that Derrida, for a while, simply “pointed to in silence” (177). In this seminar, Derrida put into play notions that can be understood to inform remix practices just as much as they do deconstruction: the author, originality, mimesis, imitation, representation and reference. Scholarly conventions, perhaps particularly the quotation practices that insist on the circulation of rigid codes of attribution, and are defended by increasingly out-of-date understandings of contemporary research, writing and teaching practices, are ripe to be played with. Remix offers an expanded discursive framework to do this in creative and entertaining ways. References Amerika, Mark. remixthebook. Minneapolis: University of Minnesota Press, 2011. 29 July 2013 http://www.remixthebook.com/. Arendt, Hannah. “Walter Benjamin: 1892-1940.” In Illuminations. New York, NY: Shocken, 1969: 1-55. Barthes, Roland. “The Death of the Author.” Image Music Text. Trans Stephen Heath. New York: Hill and Wang, 1977: 142-148. Benjamin, Walter. The Arcades Project. Ed. Rolf Tiedemann, trans. Howard Eiland & Kevin McLaughlin. Cambridge, MA: Harvard University Press, 1999. Blaire, Cheré Harden. “Panic and Plagiarism: Authorship and Academic Dishonesty in a Remix Culture.” Media Tropes 2.1 (2009): 159-192. Bourdieu, Pierre, Jean-Claude Passeron, and Monique de Saint Martin. Academic Discourse: Linguistic Misunderstanding and Professorial Power. Trans. Richard Teese. Stanford California: Stanford University Press, 1965. Carroll, Lewis (Charles Dodgson). “Letter to Henrietta and Edwin Dodgson 31 Jan 1855”. 15 July 2013 http://en.wikiquote.org/wiki/Letters_of_Lewis_Carroll. Cook, Richard. “Don’t Quote Me on That.” Time Out Sydney (2008): 8. http://rgcooke.wordpress.com/2008/02/13/interview-danielle-freakley.Denton, Andrew. “Interview: The Quote Generator.” Enough Rope. 29 Feb. 2008. ABC TV. 15 July 2013 http://www.youtube.com/watch?v=AsrGvwXsenE. Derrida, Jacques. Spurs, Nietzsche’s Styles. Trans. Barbara Harlow. London: University of Chicago Press, 1978. Derrida, Jacques. The Ear of the Other: Otobiography, Text, Transference. Trans Peggy Kampf. New York: Shocken Books, 1985. Derrida, Jacques. “The Double Session”. Dissemination. Trans Alan Bass, Chicago, University of Chicago Press, 1981. Dinnen, Zara. "In the Mix: The Potential Convergence of Literature and New Media in Jonathan Letham's 'The Ecstasy of Influence'". Journal of Narrative Theory 42.2 (2012). Freakley, Danielle. The Quote Generator. 2006 to present. 10 July 2013 http://www.thequotegenerator.com/. Goldsmith, Kenneth. Uncreative Writing. New York: University of Colombia Press 2011. Gottlieb, Benjamin. "You Shall Worship No Other Artist God." Art & Culture (2009). 15 July 2013 http://www.artandculture.com/feature/999. Lethem, Jonathan. “The Ecstasy of Influence: A Plagiarism.” Harper’s Magazine, Feb. 2007: 59-71. http://harpers.org/archive/2007/02/the-ecstasy-of-influence/. Manovich, Lev. "What Comes after Remix?" 2007. 15 July 2013 http://manovich.net/LNM/index.html. Markham, Annette. “Remix Methodology.” 2013. 9 July 2013 http://www.markham.internetinquiry.org/category/remix/.Morris, Simon (dir.). Sucking on Words: Kenneth Goldsmith. 2007. http://www.ubu.com/film/goldsmith_sucking.html.Navas, Eduardo. Remix Theory: The Aesthetics of Sampling. New York: Springer Wein, 2012. Perloff, Marjorie. Unoriginal Genius: Poetry by Other Means in the New Century. Chicago: University of Chicago Press, 2010. Schwartzkoff, Louise. “Art Forms Spring into Life at Prima Vera.” Sydney Morning Herald 19 Sep. 2008: Entertainment, 4. http://www.smh.com.au/news/entertainment/arts/art-forms-spring-into-life-at-primavera/2008/09/18/1221331045404.html.Singer, Daine (cur.). “Pains in the Artists: Endurance and Suffering.” Blindside Exhibition. 2007. 2 June 2013 http://www.blindside.org.au/2007/pains-in-the-artists.shtml.