The present article discusses the new form of fascism which Ihave called “the fascism of ambiguity” from the viewpoint of the void ofresistance and revolution. The void is considered not as lack of resistanceand revolution but as the experience of “after” resistance and revolution,as a post- condition to which fascist desire of form responds through adynamics of unsensing senses and meanings. The article engages withboth Hannah Arendt and Claude Lefort reflections on the void of resistanceand revolution and sketches a path towards a thought of the unforming.

"I shall here present my life," writes Descartes in Discourse on Method, "as in a painting" and my method "as a fable." Through the Eyes of Descartes demonstrates how a Cartesian aesthetics is interwoven in his thought. It brings together a variety of materials: his metaphysical writings and essays in natural philosophy, through to his letters, drawings, and printed images.

Cecilia Sjöholm and Marcia Sá Cavalcante Schuback seek to bring Descartes into dialogue with contemporary phenomenology as well as contemporary psychoanalytic thought. They focus on how perception interacts with emotions and thought, and the way in which our gaze is directed toward limit-phenomena of beauty and fascination.

In Through the Eyes of Descartes, Cecilia Sjöholm and Marcia Sá Cavalcante Schuback counter the traditional picture of Descartes by presenting his work in an entirely different light: a Descartes of the arts, of sensibility, of inner images, and of imagination.

The article discusses Heidegger's thought on the essence of language, taking as the guiding thread of the discussion his reflections in the book A caminho da linguagem. He emphasizes that to understand Heidegger's statements it is necessary to assume that the saying of language is not a saying about being, reality, things, but a saying of the experience of being. The core of the text is, therefore, centered on the question of what is language as an experience of a saying from experience. Faced with the philosophical tradition that seeks to base the principles for saying experience in order to ensure the correspondence between language and reality, Heidegger proposes a saying from experience and, thus, a saying that is itself experience of experience.

A significant part of the interaction between journalists and their sources in political journalism is informal or not mentioned in the media content. Visibility/invisibility and formality/informality are tactical choices applied by journalists and sources. They influence agenda building in the short term and shared interpretations that dominate the public sphere in the long term.However, the extent to which informal and/or invisible sources participate, what their role is, and why have not been consistently measured. This paper offers a matrix model to map and compare the usage of formal/informal and visible/invisible interactions between journalists and their sources. The data consists of 475 journalist-source interactions in Lithuania and Sweden reconstructed by 33 political journalists.The results demonstrate how different interactions presuppose different source roles in the news process. Formal invisible sources act as gatekeepers, and informal invisible sources act as agenda setters.

This article discusses the relation between philosophy and heart from the viewpoint of a transplanted heart. It is a reflection on Jean-Luc Nancy's thoughts on the heart as intruder in the thought of the world. Departing from the personal experience of a heart transplant, Nancy develops a deconstruction of the idea and experience of the self, showing that the need of another heart in the body of philosophy and in the body of the world has to do with the urgence of experiencing the self as soi-autre, as selfother, which is perhaps nothing but rhythm. Reading passages of his last book Cruor, the article aims to think together the rhythm of a transplanted heart, and of the heart of selfother. 

This article presents Clarice Lispector's view on writing, showing that for her literature is the writing of the act of writing itself. In question is the writing of the act while acting, the is-being of existence. In this sense, Lispector described her writing as the writing of a screaming object, as abstract writing, almost a painting. Following some central passages of different works, the article is an attempt to seize the main traits of what could be called the gerundive act of literature of Clarice Lispector.

A leitura desse livro, com que Márcia Sá Cavalcante Schuback quis oferecer uma aventura de pensamento e criação ao centenário da UFRJ, teve sobre mim o efeito de uma velocíssima visita a um passado bom. A um tempo melhor, habitado pelo entusiasmo e a esperança. Não é pouca coisa para acarinhar esse nosso tempo de encarceramento e morte. É talvez banal dizer que me propiciou uma viagem no tempo. Mas quando, nessa nossa tortuosa atualidade, as utopias fugiram do horizonte – os horizontes fugiram – e os futuros se insinuam catastróficos e distópicos, às vezes o passado é o tempo da esperança. Foi para lá que viajei. Trabalhamos juntos, Márcia e eu, na gestão do reitor Horácio Macedo (1985-1990). Saíamos da ditadura, ele foi o primeiro reitor eleito pela comunidade acadêmica no Brasil, um renascimento da universidade crítica, cheia de energia vital. Ele me convidou para dirigir o Fórum de Ciência e Cultura, e para essa aventura do pensamento que age foi que trouxe Márcia do seu doutorado no IFCS. E ela fez acontecer. Fizemos juntos. Ombro a ombro, se diz. Pois foi assim: ombro a ombro. O Fórum era um vazio. Vazio institucional, de ideias, de beleza. O que Márcia fez foi povoá-lo, na área da cultura, com inteligência, sons, imagens, corpos em movimento. Excelentes ciclos de conferências, música, teatro, exposições. Arte que pensa, pensamento que se dá a ver no brilho da beleza, que é um dos modos de desencobrimento da Verdade. E o registro dessa ressurreição – na verdade, desse primeiro nascimento – foi pensado na revista Arte e Palavra, que criou e dirigiu. Foram apenas quatro números. Faltava-nos tudo até para esses quatro. Foram feitos. Mais não deu. Mas são até hoje o arquivo múltiplo de uma bela experiência do pensamento que faz, da criação que pensa. A essa experiência é dedicado esse livro. Descreve uma história, fundamenta um projeto, alegra-se com as pessoas que estiveram ao seu lado, que aí continuam, amizades dessas que, como se diz, “fazem-se no trabalho”. É muito mais do que isso, é muito melhor. São pessoas que se criaram juntas, à medida em que iam criando um mundo, que não existia. Criação, poiese, poesia em ato. Isso não é um trabalho apenas, é uma vida. Pode ser um destino. Se for assim – e foi, dou testemunho -, esse projeto, trazido aqui de novo à memória, bem podia desentupir os canais do futuro e reintroduzir esperanças. Redesenhar utopias alegres.

The authors of this insightful and urgent collection both use the metaphor of evil as a virus or contagion and conceptualize the COVID-19 virus as a manifestation of evil to reconsider the purpose of philosophy in and for a pandemic.

Det är 2020 och pandemi. I Rio de Janeiro sitter Marcia Sá Cavalcante Schuback isolerad. Den koloniala historien tränger sig nu på överallt: en redan enorm ojämlikhet växer sig ännu större, kulturellt liv i alla former motarbetas, nya mordbränder tänds i regnskogarna, ursprungsbefolkning fördrivs. Brasilien blir till ett slags mittpunkt i en stormande värld.

Under det senaste decenniet har begreppet ”kulturarv” tagit en allt större plats i den offentliga debatten. Samtidigt är kulturarv ett märkligt begrepp, som antyder att kultur kan ärvas som om det vore ett ting och att det därmed finns en sorts arvs-kultur. 

Den här boken handlar om kulturarv, men den handlar inte om kulturarvets eventuella fördelar inom minnes- och identitetspolitik. Inte heller är boken tänkt som en kritik mot hur kulturarv kommer till användning i praktiken. 

Vad som orienterar föreliggande reflektioner är snarare frågan vad ett arv är, vad en kultur är och vad en arvs-kultur kan tänkas vara samt vilka värden och värderingar ett sådant arv förutsätter?

Boken tar sin utgångspunkt i dessa frågor samt i ett pågående samtal mellan Marcia Sá Cavalcante Schuback, professor i filosofi och Johan Hegardt, som är docent i arkeologi.

Ett särskilt förord har skrivits av Irina Sandomirskaja, professor i Cultural Studies.

Bokens bilder är tagna av Esther Shalev-Gerz och Jochen Gerz och föreställer deras konstverk Monument against fascism.

Muniz Sodré: uma escola disruptiva é afeto, homenagem, reconhecimento. Mas é também Filosofia, Comunicação, Antropologia e Cultura. O objetivo do livro é oferecer um múltiplo olhar sobre Muniz Sodré, o pensador natural, como diz Gilberto Gil. Além de ser considerado pelos pares como o maior teórico da Comunicação no Brasil, aquele que enxerga o comum para além da racionalidade ocidental, Sodré chega aos 80 anos propondo uma nova epistemologia. Defende a ciência como ponte por onde os atores sociais possam passar, trocar, construir e incorporar conhecimento em ampla dimensão, desde saberes ancestrais até as mais novas descobertas tecnológicas

"This book contributes to the work of elucidating the new forms of fascism and authoritarianism that arise today in intimate relation with new mediatic and information technologies. It presents elements of the connection between capitalism and fascism and makes clear how fascism today uses the ambiguity of senses and meanings as its most efficient way of infiltrating our reality and thereby becoming unequivocal. The fascism of ambiguity is a fascism that grows the more the ambiguities and paradoxical dimensions of the contemporary situation become explicit. It departs from some lessons of history regarding both historical fascism and some of the main critical lines and thoughts produced in the beginning of the 20th Century. It shows what is new in today's form of fascism, discussing its connection to techno-mediatic capitalism, to the dynamics of emptying meanings and senses through a technique of rendering them ambiguous and exacerbated. It outlines some guiding thoughts regarding the question of ambiguity and metapolitics today and concludes by proposing two exercises of precision, through the lenses of poetry and music, as a way to resist and counter-act the fascist metapolitics of the ambiguity of meanings and senses"--

The present article discusses some theses by Eugen Fink on the philosophical question of community in the light of the cosmic sense of the world and the cosmologic difference. Fink centers his thoughts on community in the experience of cosmic belonging and proposes a basis for thinking the question of community beyond the dialectics of individual and bond, searching for a pre-individual notion of togetherness. The key for such a notion is the erotic body as the experience of a belonging-together of the day and the night of being. It is from the belonging-together of a diurnal and a nocturnal principle of understanding that the cosmic sense of the world emerges as cosmic difference in the erotic body. 

This article discusses the meaning of “people” today at the moment of emergence of new forms of fascism and populisms. The main thesis is that we are facing rather the disappearance of the people precisely when its meaning becomes more and more empty the more it is performed and spectacularized as “the” people or “a” people. The voiding of the people entails not merely the emptying of its meaning once “people” become public and audience, once they have been converted into the numbers and statistics of population censuses, reduced to an avatar and a simulacrum. Rather, the people has a face, indeed it is comprised of millions of faces; the faces of the rest of the people, the leftovers, the remainders. I would like, then, to propose a change of focus in how we tackle today’s political questions. Instead of insisting on the question of the people, or of a people, or even of people, I will look at the faceless faces of the many who, since Greek antiquity, were called oclos, ochlos, the populace, the Pöbel – the rabble. For that I will let myself be guided by the poem “The Rose of the People” by the Brazilian poet Carlos Drummond de Andrade.

The present article proposes a sketch to a phenomenology of exhaustion and the exhaustion and being-tired inherent to a disease, evoking the medical tradition in ancient Greece and some aspects of Nietzsche’s concept of convalescence (Genesung). Based on this description, the text discusses the being tired of contemporary man in a world that exhausts all life not letting life get tired and rest. This was written based on a non-written dialogue with Pater Hermógenes Harada.

The study explores how the content of the social ties between journalists and their sources, and the multiplexity of the ties in particular, is reflected in the news discovery practices in the political beat. Some of the news ideas come from publicly available channels while others derive from journalists' unique networks of social contacts (often to some degree informal). The sources connected to journalists via single vs. multiplex social ties achieve a discursive power (Jungerr et al. 2019) in different ways. The study is based on reconstructed news discovery situations (n = 162) from two different political journalism environments: Lithuania and Sweden, and combines quantitative and qualitative questions. First, it measures the prevalence of the multiplex social ties between journalists and the sources. Second, it analyzes how the multiplexity of these ties is reflected in the process of the news discovery and, third, the outcome-the news content. The results show that the prevalence of multiplex social ties, and the social network behind them, is reflected in what news journalists can access and select as newsworthy. Process-wise, multiplex social ties work as a shortcut but require a balance between maintaining the access to the network and distance to the source.

In this article I argue not only for the value of hermeneutics today but also, and especially, how the crucial gesture of hermeneutics is that of changing the subject for the sake of our today. Surveying briefly the main lines of hermeneutical positions along its history and critiques, and connecting these critiques to the discrepancy between theory and practice, between interpretation and the need to change the world, the article proposes that our reality today, reshaped through globalization and the virtual, is performed as a hermeneutics of history. The challenge for today's hermeneutics is to work out categories for understanding the present as on-going in a world that tends to capture and distort more and more the meaning of freedom of thought. In the final section, I propose a hermeneutics of the on-going, of gerundive time, partially under the inspiration of Paul Celan, as a response that develops the meaning of the freedom of thought. A defense of nearness and how to think in narrow nearness to the on-going is discussed. 

Födelsedagar firas på många sätt. Till de vanliga hör att blåsa ut levande ljus. I akademiska sammanhang finns sedan 1600-talet en tradition att sammanställa en bok som visar hur en kollega har blåst liv i sitt ämne, i ett kunskapsfält, i en institution. De har sedan dess kallats festskrifter men också liber amicorum, vänböcker. Tidvatten är en sådan bok, som samlar texter av vänner och kollegor, för att fira Hans Ruins 60 år. Alla som känner Hans, som filosof eller tidningsskribent, som ungdomsvän eller universitetskollega, vet att tiden är Hans tema. Hur kan man bo och vara i tiden? Bidragen till denna bok handlar om tidens skiftande former, om vårt förhållande till historien, och till de döda.

What is hermeneutics for today? The discussion departs from a critique of hermeneutics and of its critics to show that the excess of interpretation has emptied the meaning of interpretation. This paper considers the dynamics of the voiding of meaning due to its excess and "whatsoeverying", the moving principle of globalization with its main outcome in the censorship of the freedom of thought. A lacunar method is proposed to think this lack of freedom, namely, the focus of attention on the on-going of "disattention" and oblivion, to elucidate the gerundive of existence, as existing of existence. The method might help elaborate a new path of thought in the humanities.

I ljuset av dagens heterogena kunskapskulturer är den övergripande ambitionen med den här boken att reflektera över relationen mellan universitetet och filosofin med öppningar för frågor som är av betydelse för demokratin och samhället i stort. I antologins sexton artiklar diskuteras filosofisk forskning och högre utbildning i förhållande till universitetets ständigt förändrade funktioner men också tänkandets förmåga att förändra verkligheten.

Gentemot en bred idéhistorisk fond som sträcker sig från den tyska idealismen för drygt tvåhundra år sedan till vår egen tid är det ett försök att diagnostisera filosofins och tänkandets villkor, status och möjligheter inom dagens universitetsväsende. I vilka avseenden kan universitetet fortfarande fungera som en plats för tänkande?

Sedan tidigt åttiotal, när Sven-Olov Wallenstein slog ner i Stockholms intellektuella liv, har han vuxit till en kraftfull och mångförgrenad institution i sig, under sitt kärnfulla emblem: Walle. Med avstamp i filosofin och idéhistorien har han gripit in i den estetiska debatten som ingen annan under dessa gångna fyra decennier. Genom egna böcker och genom översättningar, genom tidskrifter, recensioner, katalogtexter, och inte minst genom sin undervisning runtom i Sverige och Norden har han på djupet påverkat diskussionen inom konst, arkitektur, men även inom litteratur, dans, musik och film. Som uttolkare och översättare av den klassiska tyska filosofin – Kant, Hegel, Husserl, Heidegger och Adorno – liksom av dess moderna franska arvtagare – Derrida, Foucault och Deleuze – har han på ett avgörande sätt bidragit till att återknyta det band mellan svensk och europeisk idékultur som den föregående generationens ofta historielösa omfamning av angloamerikansk analytisk filosofi hade klippt av.

För att fira Walle har vi satt ihop en bok. Det har inte blivit en pliktbok, ingen sedvanlig samling lärda uppsatser som följer vänbokens konventioner. Istället för en festskrift, fick det bli en skriftfest, en bild- och uttrycks-fest, där skrivande och skapandet självt firas. Walle har arbetat hårdare än de flesta, men till sist var det alltid festen som var målet, releasen, partyt, skrattet och galenskapen. Vad vore en filosof som inte skrattar? Inte en Walle, inte den som förmår förvandla tunga resonemang till klara linjer, komplexa relationer till glad geometri, och mångfaldiga ord till färgstarka, träffande och koncentrerade bilder.

"This book is a philosophical reflection on the experience of time from within exile. Its focus on temporality is unique, as most literature on exile focuses on the experience of space, as exile involves dislocation, and moods of nostalgia and utopia. Marcia Sá Cavalcante Schuback proposes that in exile, time is experienced neither as longing back to the lost past nor as wanting a future to come but rather as a present without anchors or supports. She articulates this present as a "gerundive" mode, in which the one who is in exile discovers herself simply being, exposed to the uncanny experience of having lost the past and not having a future. To investigate this, the book establishes a conversation among three authors whose work has exemplified this sense of gerundive time: the German philosopher Martin Heidegger, the French writer and essayist Maurice Blanchot, and the Brazilian writer Clarice Lispector. The book does not aim to discuss how these authors understand the relation between time and exile but enters in conversation with them in relation to this question. Attempting to think and express this difficult sense of time from within exile, the book engages with the relation between thought and language, and between philosophy and literature. Departing from concrete existential questions, it opens new philosophical and theoretical modes through which to understand what it means to be present in times of exile"--

The article aims to reflect on the pandemic from the situatedness of being in the eye of the storm. It discusses the contagion between biological and digital viralization, and the politics and existential effects of the pandemic non-touching.

This chapter discusses how media and political information sources navigate change and adjust their needs-oriented behaviour to changing conditions. The results presented are based on 20 qualitative interviews with leading political journalists as well as government advisors and spokespersons in Lithuania. Although media and political sources gain power in different situations, both sides function in reciprocal interconnectedness. Formal contacts are quite consistent and professionalised, but they continue to work in the shadow of informal social networks, which create their own power relationships, dynamics and hierarchical structures. Though the findings are contextually fashioned, the views regarding the interaction indicate broader trends of communication professionalisation identified also in other cultures and political conditions.

This article discusses the challenges of contemporary aesthetics in times of profound mutation in the ways of feeling, thinking and existing. Assuming that the present mutation occurs in the very sense of form and in all forms of meaning, the article considers that the great challenge of “aesthetics” is to make sense of open senses, to propose open forms of coexistence and action, of thought and sensibility rather than to propose new or other closed and deter-mined senses and forms. Seeking formed forms and closed senses is what characterizes fascism in all its modes of expression and mobilization. The reflection pro-poses a poetics of the is-being, that is, of the gerund, which finds in the sketch and the rhythm some of its indicative words. It considers that in order to resist the fascism of contemporary forms of control, it is necessary to follow the indications of the resistant rests to the processes of totalization of meaning and to invent a language that feels and thinks in the gerund. That would be a way of be-coming forest in times of total devastation.