The Bureau and the Realism of Spy Fiction

This article addresses the issue of realism in relationship to contemporary serial fiction. Drawing on The Bureau (Canal+, 2015–2020), it argues that spy TV series are “realistic” not because they correspond to reality but because of their impact on reality. It begins by giving an overview of the many ways in which “realism,” in the ordinary sense of a resemblance with reality, served as the working framework for The Bureau’s team. It then identifies three distinct types of realisms in the series. The first is a “fictional realism,” namely the ability of The Bureau to conform to the aesthetic and narrative conventions of realistic fictions. The second type of realism, which I qualify as “ordinary,” refers to the possibilities offered by the show’s aesthetics and the enmeshment of The Bureau with viewers’ ordinary experience. The third type of “performative realism” refers to the series’ impact on shared representations and reality. By providing a common language about the secret activities of the state, The Bureau has gone from being a framed version of reality to being one of the defining frameworks through which state secrecy is experienced both individually and collectively, by insiders and the public at large.

Competing with Urban Verticality: Cinematic Landscapes in Seediq Bale and Beyond Beauty: Taiwan from Above

While buildings strive to reach higher and higher, cities are obsessed with a visible expression of verticality. Seediq Bale (2011) and Beyond Beauty: Taiwan from Above (2013) represent a new development in Taiwan’s cinematic use of landscape that challenges the dominance of urban verticalism. Seediq Bale sets up an alternative vertical dimension of mountainous areas that puts into dialogical relationship the dichotomies of civilised/barbarous, advanced/primitive, and vertical/horizontal. Audiences no longer experience space in a traditional manner, as eventually Mona Rudao’s graveyard is undiscovered/undefined. Beyond Beauty, on the other, asks viewers to ‘go higher’, encouraging a break with ordinary experience for a more spiritual quest like aerial shots. As both offer a sense of disorientation and alienation, what does the spatial metaphor address to aesthetics, ecocriticism, politics of identity, and sovereignty in geography? What are the implications as cinematic landscapes extend into a real-life environment that is ready to be consumed?

Key issues and questions

Both the special sciences and ordinary experience suggest that there is metaphysical emergence, whereby there are macro-entities which materially depend on lower-level configurations, but which are also distinct from and distinctively efficacious as compared to these configurations. Such appearances give rise to two key questions. First, what is metaphysical emergence, more precisely? Second, is there actually any metaphysical emergence? Wilson registers the aim of providing clear, compelling, systematic answers to these questions; she discusses the overall strategy and associated plan for the book; and she surveys certain operative notions, including those of the physical, levels, the fundamental, causes and powers, and methodology.

Metaphysical Emergence

The special sciences and ordinary experience present us with a world of macro-entities trees, birds, lakes, mountains, humans, houses, and sculptures, to name a few which materially depend on lower-level configurations, but which are also distinct from and distinctively efficacious as compared to these configurations. Such appearances give rise to two key questions. First, what is metaphysical emergence, more precisely? Second, is there actually any metaphysical emergence? In Metaphysical Emergence, Jessica Wilson provides clear, compelling, and systematic answers to these questions. Wilson argues that there are two and only two forms of metaphysical emergence making sense of the target cases: ‘Weak’ emergence, whereby a macro-entity or feature has a proper subset of the powers of its base-level configuration, and ‘Strong’ emergence, whereby a macro-entity or feature has a new power as compared to its base-level configuration. Weak emergence unifies and accommodates diverse accounts of realization (e.g., in terms of functional roles, constitutive mechanisms, and parthood) associated with varieties of nonreductive physicalism, whereas Strong emergence unifies and accommodates anti-physicalist views according to which there may be fundamentally novel features, forces, interactions, or laws at higher levels of compositional complexity. After defending each form of emergence against various objections, Wilson considers whether complex systems, ordinary objects, consciousness, and free will are actually either Weakly or Strongly metaphysically emergent. She argues that Weak emergence is quite common, and that Strong emergence, while in most cases at best an open empirical possibility, is instantiated for the important case of free will.

Mystical Experience of Eternity as a Limit of Time Experience

This article aims to clarify two traditions of understanding time, namely the rationalistic, which includes the scientific (in the West, going back to the ‘Physics’ of Aristotle) and philosophical (going back in the West to Augustine), and mystical (the most methodically sustained is the Yogic tradition of Classical India and Sufism). The article contains several sections: Introduction raises the problem of time and sets the subject boundaries. The main part is comprised of the following sections: 1. Time as found in objects: a brief summary of the rational scientific and quasi scientific trend of time interpretation from Aristotle’s Physics to Reichenbach’s “Philosophy of Time and Space”. The physical one-sidedness of the consideration of time is completely immersed in the object domain. 2. Time as associated with the ontological subject: essential points of purely philosophical understanding of time beginning with St. Augustine via Kant up to Heidegger. This philosophical approach is no less one-sided, and comprehends time almost exclusively as a subjective phenomenon (memory, contemplation, desire, one’s own nature etc.) Both trends lack any discrimination between the initial indication of the phenomenon of time (the answer to the question ‘what is time as a phenomenon?’) and the interpretation of the meaning of this phenomenon (the answer to the question ‘how to understand the phenomenon of time?’). 3. Interpretations of the time phenomenon are implicitly based on the everyday mode of awareness. The problem of time is one of the most difficult problems to comprehend. The main thesis of the article is that the pra-phenomenon of time is revealed to consciousness from the necessarily occurring switching and comparison between two processes: orientation in the external world and attention to cogitation, i.e., between the external and internal. This duality coincides with the duality that is realized in the elementary unit of rational thought - judgment, the subject of which is recognized as belonging to the external world, and the predicate – to the internal. Separately, it is planned to consider the understanding of time in the mystical tradition. We will focus on two ways of understanding time - the rationalistic (philosophical), represented by the teachings of Kant, and the mystical, represented by the Sufis and Yogis (with an indication of the fundamental difference between them). Note that these two methods are not opposed by us, although in a sense they exclude each other. 4. Lapse of time and the notion of a mode of awareness. The ordinary mode of awareness called vikṣipta ‘dispersed’ in Yoga philosophy is characterized by a fundamental dualism of inner and outer worlds’ events. Both are processes and the non predicative comparison of their pace constitutes the ordinary experience of the lapse of time. This mode is the most habitual one and the very mode within which it is possible to speak and compose texts, however it is not unique. There exist other possibilities. 5. One-pointed awareness mode and the atemporal process. Voluntarily achieved one-pointedness has no distinction between the outer and inner world and is therefore ‘out of’ or ‘above’ time. It is well known in mystical literature (exemplified by the text by eminent Sufi author, Niffari). In European rational philosophy this position was explained by Hegel, but not in his ‘Philosophy of Nature”, usually associated with the concept of time, it was in the ‘Science of Logic’ (in the timeless unfolding of absolute knowledge). The Conclusion presents a summary. The crucial point which enables a thinker to overcome the traditional scientific and philosophical one-sidedness of the conceptualization of time is the notion of a mode of awareness and comprehension of the fundamental duality of outer world processes and cogitations’ succession. A non-ordinary awareness mode is methodologically elaborated in Yoga philosophy, witnessed in mystical Sufi texts, and finally, grasped in Hegel’s concept of a speculative proposition.

Foley Effects in the Gothic Sound in The Castle of Otranto

The insistence among later eighteenth-century critics of the Gothic novel that sound strongly marks the genre confirms the intuition that sounds in these works are meaningful. The Castle of Otranto is laden with the profusely sonic dimensions that commence with the text's opening pages. The analogue in modern film of Foley effects resonates because these are sounds, applied post-production, that often are louder and more striking than real world sounds; similarly, film and the novel, unlike ordinary experience, can offer true silence. Walpole was experimenting with a new written technology of sound description, related to effects on the stage of his day. Such theatrical sounds form part of the historical background to the analogy with Foley effects in modern film. Walpole is pioneering a new kind of rendering of psycho-acoustic ambience in the novel, and also psycho-acoustically actuated action. He opens up modes of experience not found in fiction prior to this novel – both with the use of written sound effects, and also with the psychic introjection of these effects to produce terror and horror in the minds of fictional characters.

The Hazards of History

Uomini contro (Just Another War, 1970), one of Rosi’s most undervalued films, exposes the barbarity of war and the absurdity of military dogma by focusing on the plight of the common soldiers fighting in the trenches of the Great War, many of whom resorted to mutiny, desertion, and self-mutilation to resist being sent on suicide missions. Rosi’s obsession with the moral as well as the physical hazards of war finds new expression in La tregua (The Truce, 1997), adapted from Primo Levi’s memoir of his return home after Auschwitz. The film is stylistically notable for the eschewing of visual and theatrical effects and the concentration on the ordinary experience of a heterogeneous group of people, Jews and non-Jews alike, confronting the uncertainty of what awaited them as free beings. Claiming that he wanted “to turn Levi into an eye,” Rosi also aspires to the role of a timely witness.

Immediate Experience, Mystical ‘Encounters’ and the ‘Voice’ of God: Palmquist’s Critical Mysticism and Kant’s Theory of Experience

In this brief commentary, I focus on Part II of Kant and Mysticism, where Stephen Palmquist explores the space for mystical experience in Kant. In particular, I focus on (a) what Palmquist calls ‘immediate experience’ or ‘encounters’; (b) what he calls the ‘supervening’ of religious experience on ordinary experience; and (c) moral conscience as the ‘voice’ of God.

Between Ordinary and Extraordinary: A Deweyan Approach to Ordinary, Aesthetic, and Cultic Experience

The relation between the everyday and the religious cult has traditionally been regarded as one of opposition, like the profane and the sacred. Since such a conception comes with a high price—rendering the cult esoteric and the everyday bereft of religious significance—this article proposes a more complex dynamic between the two. Drawing on Dewey’s idea of aesthetic experience as an intensification of ordinary experience, the article argues that a similar structure should be applied to the cult, or, more specifically, cultic play. In cultic play, there is admittedly discontinuity from ordinary life, owing to play’s distinct settings and rules. Nevertheless, such discontinuity reveals a deeper continuity, in which ordinary experience becomes present in new, sacred ways. In a dialectical manner, cultic play draws on ordinary experience, discloses and intensifies it through the context of play, and thus points forward to possibilities for inhabiting the everyday in richer ways.