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Politics of Negativity:Launching of the First Issue of the Journal Stasis
No full textHow is it possible to say ‘no’ – to contradict, oppose, reject or deny something? Philosophy of the last two centuries draws attention to the paradox of negation, which cannot help but reaffirm what it pretends rejecting. Nevertheless, at least since Hegel, ‘negativity’ became an essential ingredient of modernity to the point that all major concepts of modern thought – such as subjectivity, freedom, and revolution – seem to necessarily imply a positive evaluation of the negative. 20th century philosophy may also be read as a desperate search for absolute negativity, one that would not have anything positive in it and would therefore represent a pure act of disjuncture. However, such an absolutely negative attitude displays a troubling melancholic side too: instead of negating something, the epoch of negativity may end up simply ‘willing nothing’. What happens then when negativity goes awry? The first issue of Stasis reflects on the possibility of rehabilitating the virtues of the negative as an antidote to resist political melancholia and turn it into new revolutionary theories and practices. Stasis is a peer-reviewed bilingual journal (English/Russian) in social and political theory, which is published by the European University at St. Petersburg. Stasis means at once a particular position, an interrupting suspension, and an uprising. The first issue includes articles by Ray Brassier, Sami Khatib, Vitaly Kosykhin, Artemy Magun, Jamila Mascat, Gregor Moder, Benjamin Noys, and Oxana Timofeeva
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Cosmic shift: Russian contemporary art writing
No full textIn this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country’s most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region’s contemporary art, culture and and theory.With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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