bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Case for Work
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
A post-work movement is gaining popularity among academics, artists, and activists, in reaction to the many harms and injustices plaguing current labour markets and work organizations, and the looming disruptions that automation is likely to cause. This movement anticipates and welcomes the demise of work as a central value of modern society. Against this rejection of work’s significance, The Case for Work argues that our situation is critical precisely because work matters, that it is a mistake to advocate a society beyond work on the basis of the current state of work. Rather, because work matters, we should try to organize it differently. The first part of the book locates the arguments feeding into the ‘case against work’ in the long history of social and political thought. This genealogical enquiry highlights many conceptual and methodological issues in classical and contemporary accounts. The second part of the book makes the ‘case for work’ in a positive way, through a dialectical argument. It shows that the very features of work that its critics emphasize, which make it akin to a ‘realm of necessity’, can in fact become the conduit for individual self-development and social solidarity, provided work is organized in conditions that are fair and equal.
Abstract Labour
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
This chapter examines arguments that draw on the writings of Karl Marx. The first section introduces two strands of interpretation, both of which endorse a positive notion of work found in Marx. Section 3.2 reviews the ‘autonomist’ tradition, whose ‘refusal of work’ represents a key reference point in post-work writings. However, the work ‘refused’ in autonomism is capitalist work, and autonomists also embrace a positive conception of emancipated work. The argument that capitalism, by driving technological innovation, will make work obsolete in the future is examined in Section 3.3. Section 3.4 explores the stream of Marx scholarship centred on the notions of ‘value’ and ‘abstract labour’ as forms work takes in capitalism, that impact negatively on social relations and subjectivities. Section 3.5 rebuts these criticisms by showing that they fail to discount work as a necessary activity of social reproduction.
Work as Discipline
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
This chapter considers objections to the centrality of work influenced by the writings of Michel Foucault. Section 4.1 outlines the descriptive force of his critical accounts of the modern ‘disciplines’ and of ‘biopower’ as they relate to work. Section 4.2 identifies the methodological and ethical implications of these accounts for debates on work. These present modulations on the historicist worries studied in earlier chapters. Section 4.3 responds to these objections by arguing that the paltry nature of modern work’s organization does not by itself negate the necessity of some work. The chapter concludes by highlighting later texts in Foucault’s oeuvre which point to a positive conception of work.
The Imminent Obsolescence of Work
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
This chapter evaluates scenarios about the imminent disappearance of work due to automation. Section 7.1 recalls earlier predictions about ‘the end of work’ from the late nineteenth century onward. These forecasts were never vindicated, which provides a first sceptical proviso to the imminent obsolescence of work. Section 7.2 reconstructs the argument in Marx’s 1857 ‘fragment on machines’, a key reference in current work debates. The conclusion of Marx’s analysis does not predict the end of human work but rather a transformation of it, ultimately resulting in a new form of society. Section 7.3 reviews the recent literature on technological unemployment, and highlights the many considerations that prevent us from drawing the conclusion that recent advances in robotics and artificial intelligence will necessarily lead to the end of work.
The Social and Political Irrelevance of Work
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
This is the last chapter of Part I. It examines the claims of sociologists, social theorists and political philosophers who argue that work is no longer the most relevant form of social experience or institution, and that the significance of work will continue to decline in the future. The first section reviews arguments from those classical texts of post-war political sociology that describe changes in the economic, social, and political organization of rich countries in the 1970s. The ‘post-industrialism’ catchphrase coined by these thinkers was intended to describe the demise of work as a culturally, socially, and politically central institution. The second section reviews objections that stem from the theoretical side of sociology, which reject the idea of an institution and form of experience being ‘central’ in modern society. The third section considers philosophical objections to the perfectionism apparently implied in the idea of work being central to individual and social life.
Feminism’s Ambivalent Attitude to Work
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
This chapter has two aims, to illustrate the ambivalence of work from a feminist viewpoint, and to extract from feminist scholarship a generalized notion of social reproduction. Section 9.1 studies the treatment of work by three feminist figures (Charlotte Perkins, Simone de Beauvoir, Maria Mies). Section 9.2 establishes the thematic grid used in the remainder of the chapter. The grid is derived from the three major forms of work-based injustice studied in feminist scholarship: colonization and imperial domination; racial oppression (including slavery); and exploitation and social domination linked to capitalist industrialization. Sections 9.3 and 9.4 focus on domestic labour and outline the notion of social reproduction that was developed to analyse it. Section 9.5 studies the role of work in historical and recent forms of colonization and racial oppression. Section 9.6 builds the bridge to Part II by highlighting striking visions of emancipatory work from feminist perspectives.
The Work of Social Reproduction
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
This chapter establishes the generalized concept of social reproduction that underpins the defence of work advanced in the second part of the book. Section 10.1 unpacks the conceptual components of the definition of work that arise from this perspective. On this view work is the set of activities that ensures the reproduction of individual lives and of the collective life which sustains them, and which they sustain. Section 10.2 considers the main systems that make up a human community to emphasize just how much work is required to sustain individual and collective lives, a point that is undervalued in contemporary social and political thought. Section 10.3 responds to a key objection to the definition of work as an activity of social reproduction, namely that it is insufficiently precise and makes it difficult to distinguish work from other kinds of action.
Facing Necessity
Authors: Deranty Jean-Philippe 
Published: November 2024

Abstract
This chapter describes the significance of work for individuals. Instead of reviewing the existing literature on ‘the goods of work’, a new method is proposed, namely to accept the idea that work is an aspect of human existence that is connected with many forms of necessity, and that this fact helps to explain why work matters so much. The first section surveys the different ways in which work for human beings is linked to necessity: as a result of our intrinsic finitude, our evolutionary trajectory and our social dependency. Section 13.2 shows why facing this manifold necessity should not just be considered a fateful burden, as it can be a conduit for real freedom and flourishing, provided work is well organized. This outlook strengthens the rejoinder to the objection from Chapter 5 about the supposed superiority of leisure and play over work.
Fade-In: Introduction
Authors: Shilina-Conte Tanya 
Published: November 2024

Abstract
The introduction makes clear the novelty and importance of the present study, describes its methodology, and delineates its argument. The introductory chapter also emphasizes the book’s fresh contributions to two major scholarly conversations: first, the innovative intersections between film studies and Deleuze and Guattari studies; second, the emergent interest in absence, darkness, and silence in film studies and film-philosophy. Accordingly, this chapter introduces the reader not only to the specialized vocabulary of Gilles Deleuze and Félix Guattari—including concepts such as the “abstract machine,” “deterritorialization,” and “lines of flight”—but also to the author’s own terminology, such as “folds to black or white” and “elective mutism.” In addition to elaborating on the concept of the filmmaking machine as an abstract art machine in relation to questions of absence in cinema, the introduction explicates the book’s focus on “thirteen ways of looking at the black or white screen.” This undergirding diagrammatic principle guides the presentation of content in the book, mobilizing Deleuze and Guattari’s concepts of “assemblage,” “diagram,” and “cartography,” all of which are correlative with an understanding of the filmmaking machine. The filmmaking machine is not disconnected from critical film disciplines and creative practices as integral components of the “cine-mecanosphere.” The introduction posits that film history, film theory, and film analysis all stand to benefit from the film-philosophical conceptual apparatus. What is more, reflective of an expanded process of “cine-machining,” the book manifests itself as theoretical assemblage, which is integral to the stand-alone creative practice component, the author’s remix-assemblage, This Video Does Not Exist (2015/2024).
Divergent Darkness
Authors: Shilina-Conte Tanya 
Published: November 2024

Abstract
Chapter 1 focuses on the various uses of black screens in early cinema, the period that remains outside of Gilles Deleuze’s Cinema dyad. Chapter 1 and chapter 6 frame the book by drawing a comparison between Paul Virilio’s theory of the acceleration of technology and negative accident, on the one hand, and Deleuze and Félix Guattari’s philosophy of abstract machinic production and creative malfunction, on the other. This chapter begins by examining the role of the black gap in the illusion of cinematic motion, linking it to Virilio’s notion of “picnolepsy” and the philosopher’s interest in the increasing speed of perception in the twentieth century. Furthermore, the chapter demonstrates that black screens in early cinema can be approached in various reterritorializing and deterritorializing ways: as darkness that dates to Black Art magic in theater; as frame-breaking attractions; as seeds of rational and irrational cuts found in classical and modern cinema; as compositing techniques that anticipate spatial montage in digital cinema; and as resistant tactics of effacement as practiced in minor cinema. The chapter argues that the divergent use of black screens in early cinema results from the heterogeneity of means of filmic expression and differs from their more convergent employment in classical cinema due to the reterritorializing pull of the fade as a code. The chapter concludes by stating that early cinema, far from being primitive, is full of experimental and molecular potential—it invites us to enter the dark tunnel, tumble into the gaping maw, or go down the rabbit hole.
Convergent Codes
Authors: Shilina-Conte Tanya 
Published: November 2024

Abstract
Chapter 2 provides an overview of Gilles Deleuze’s work on cinema and highlights the role that the black or white screen plays in his theorization of the movement-image. It traces the concept of the black or white screen through the components of the frame, shot, and montage as fundamentals of cinematic analysis. The chapter scrutinizes various aspects of the film frame—such as its genetic power and tendencies toward either rarefaction or saturation—before emphasizing the enabling role of darkness with respect to the cinematic shot. After establishing the difference between rational cuts in movement-image cinema and irrational cuts (or interstices) in time-image cinema, the chapter then deliberates on the black or white screen as a rational transition, delving into the history of the fade as a cinematic code. The chapter discusses the emergence of fades during the transitional period of cinema and considers the ways in which filmmakers have subsequently experimented with fades of different colors. This chapter mainly probes fade-ins and fade-outs in terms of relative deterritorialization and reterritorialization. In contrast to the divergent use of the black screen in early cinema, the fade, among other cinematic techniques, has gradually acquired a stable function in classical cinema. Such a convergence of filmic codes has been facilitated not only by the work of early film practitioners but also by the accounts of early film theorists, which together provide important insights into the institutionalization of the fade as a narrative device in cinema.
The Black or White Screen as a Tool of Deterritorialization in Modern and Experimental Cinema
Authors: Shilina-Conte Tanya 
Published: November 2024

Abstract
Chapter 3 elaborates on the blank screen as a tool of deterritorialization in time-image cinema. This chapter highlights absolute deterritorialization in the black or white screen that offers a radical line of flight from fixed forms and stable codes in cinema. This and the next chapter of the book develop a comparison between the critical-clinical symptomatologies of Theodor W. Adorno’s negative critique and non-communication, on the one hand, and Gilles Deleuze and Félix Guattari’s productive experimentation as creative (dis)order, on the other. The foundational element of Deleuze and Guattari’s philosophy of becoming is a triad of lines: the molar, the molecular, and lines of flight. Molar lines, as rigid segmentarities, mobilize the logic of identification and representation. Yet molar lines are never fixed and firm; they always undergo malleable and molecular changes. Molecular lines can still be segmentary and stratifying, whereas radical lines of flight disturb, disrupt, and destratify both molar and molecular lines. If molecular lines bring about relative deterritorializations, then lines of flight have the genuine potential to metamorphose into absolute deterritorializations. Drawing upon this logic, the chapter demonstrates that in modern cinema of the body and cinema of the brain, the genetic and structural powers of the black or white screen not only loosen molar narrative regimes by means of molecular disturbances but also open up pathways to absolute escapes. Furthermore, the chapter also surveys the recurrence of black or white screens in a number of experimental film movements, such as Abstract or Absolute film, Lettrism, the Situationist International, Fluxus, Structural film, and Paracinema.
One Chapter Less
Authors: Shilina-Conte Tanya 
Published: November 2024

Abstract
Chapter 4 dwells on the black or white screen as a force of deterritorialization in minor cinema. This chapter draws upon the connection between modern cerebral cinema and minor (or modern political) cinema in Gilles Deleuze’s theory. The chapter examines minor cinema as a blended form of minor(itarian) cinema—a resistant cinema of experimentation that under certain conditions also embraces a cinema of minorities. This chapter shifts emphasis from the molar and the molecular to the major and the minor. Minor language has the potential to undermine major discourse, infiltrating conventional means of expression through a deterritorialized language. In this respect, the use of the black or white screen impairs the stable system of established (major) filmmaking codes, causing deviations and mutations. Movements of deterritorialization, relative or absolute, enabled by the black or white screen in minor cinema, can take place by stuttering and mutism. Drawing upon the clinical and the critical in Deleuze’s work, and continuing the previous comparison between Theodor W. Adorno’s and Deleuze and Félix Guattari’s respective philosophies of negativity and affirmativity, this chapter argues that stuttering and mutism, as negative disorders or pathologies, can be reconceived in minor cinema as creative (dis)orders of enunciation. The chapter contends that stuttering and mutism, as tools of film-philosophy, permit us to supersede traditional film analysis and examine absence and silence not as interpretive (either critical or clinical) conditions at the level of the plot but as critical-clinical modes of experimentation. It is in the cinema of minorities that mutism becomes affirmatively elective, as the refusal to represent acquires the positive valence of a defiant protest.
Folds to Black or White in Minor Cinema and Art Practice
Authors: Shilina-Conte Tanya 
Published: November 2024

Abstract
Chapter 5 elucidates the theory of “folds to black or white” in minor cinema. The concept of folds to black or white expands on both fade-ins and fade-outs as rational transitions and black or white screens as irrational cuts (or interstices) in cinema. Folds to black or white counter impossibilities and impediments in the social sphere, inviting alternative readings of history and memory. The chapter fuses Laura U. Marks’s enfolding-unfolding model of “Experience—Information—Image,” with Deleuze and Félix Guattari’s concept of the abstract machine of faciality, or the “white wall” and “black hole” system. The machine of faciality not only dictates the politics of the face but is also deeply embedded within the signifying forms of social life, which makes minoritarian artists attuned to its mechanisms of operation. Minoritarian artists think (or fold) outside of majoritarian history and psychological memory, in absolute memory and pure time. Folds to black or white in minor cinema manifest as blackouts or whiteouts in various degrees of dissolving, blurring, or thinning out. These strategies deterritorialize the figurative in cinema by effacing visuals, proceeding not by negative erasure but by the folding and unfolding of matter. Drawing upon Marks’s three planes of “Experience—Information—Image,” the chapter further argues that folds to black or white in minor artworks entail the enfolding of suppressed or dismissed minor memory and material experience and the enfolding of censored or erased minor history, information, and images, as well as their selective unfoldings by the dominant powers and mainstream media.
Fade-Out: Conclusion
Authors: Shilina-Conte Tanya 
Published: November 2024

Abstract
The concluding chapter places the author’s remix-assemblage, This Video Does Not Exist (2015/2024), within the emergent discourse of scholar-practitioners in film and media studies working at the interstices between theory and practice. Fully embracing the capacity of the filmmaking machine to generate sensations and affects calls for a new breed of scholar-practitioner engaged in critical-creative practice. Machines are performative rather than representational, and therefore it is only possible to show the filmmaking machine machining and producing through the flow of images themselves. A separate yet related extension of this multimodal project, the remix-assemblage This Video Does Not Exist connects to the forces and flows of the book as theoretical assemblage. The film, a montage of monochrome screens throughout cinematic history, invokes Gilles Deleuze and Félix Guattari’s nomad philosophy of the war machine. Instead of collecting iconic or acclaimed images, the film celebrates non-images as moments of irresolution and uncertainty. This Video Does Not Exist also queries the habituation of our perception, as we tend to override absences, including the cinematic. We see them, but it is as though they do not exist.
Love in the Christian Tradition
Authors: McPherson David 
Published: November 2024

Abstract
This essay traces some of the main contours of Christian love and examines key issues pertaining to it. The first section explores the picture of love that arises from the New Testament. The second section considers Augustine’s and Aquinas’s accounts of the “order of love,” which address tensions inherent to the New Testament teachings on love, especially regarding (1) love for the Creator and created things and (2) universal and particular love. It is shown that Christian ethics is above all concerned with rightly ordered love. The third section examines the relationship between agape and eros, especially in light of Anders Nygren’s work, which criticizes the way of thinking about love that is exemplified in the work of Augustine and Aquinas. Against Nygren, it is argued that Christian agape-love should be regarded as involving appraisal love that is both conditional and unconditional, in different respects, and as connected to eros-love in meeting our desire for fulfillment.
Beyond the realms of dream that fleeting shade
Authors: Grace Eve 
Published: November 2024

Abstract
This chapter offers an exploration of Rousseau’s account of love as a limitless longing for what is not, a longing that is impossible to satisfy, for the internal contradictions between the various hopes inspired by romantic love necessarily destroy love the more ardently it seeks to attain its object. Moreover, while love, rather than reason, is the potent teacher of virtue and the genuine source of happiness, the enthusiasm by which it elevates human life is inherently unstable, for it must in the end be faced as an illusion. Rousseau’s inspiring and yet dark account of love in great measure gave rise to the melancholic sensibility later associated with Romanticism
Prologue
Authors: Calvert Jane E. 
Published: November 2024

Abstract
The prologue sets the scene in Washington, D.C., at the time of Dickinson’s death in February 1808 and gives an overview of his life. It was a small and primitive town that was growing quickly. Congress was conducting ordinary business on February 22, which paused for the senators to acknowledge Dickinson’s passing on February 14. The narrative gives an overview of his character, relationships, accomplishments, and reputation as a leading patriot. It mentions friends and allies such as Charles Thomas and Mercy Otis Warren and enemies such as Joseph Galloway and John Adams. It describes the republicanism in his manner and his Quakerly concern for those less fortunate. Thomas Jefferson’s words acknowledge Dickinson’s significance to the Founding.
“Nursd in the Arms of Liberty”
Authors: Calvert Jane E. 
Published: November 2024

Abstract
Chapter One describes the Quaker family into which Dickinson was born and life in colonial Maryland and Pennsylvania, when he was a boy. After brief accounts of his parents, Samuel and Mary Cadwalader Dickinson, it explains the colonial social hierarchy—with wealthy planters, of which Samuel Dickinson was one, at the top and enslaved people at the bottom—the volatile mercantile economy, and the Quaker history and culture in which John Dickinson was raised. Although Dickinson was never a formal member of the Religious Society of Friends, he inherited Quaker values from his parents and the culture around him. Quakers had always been religious dissenters who stubbornly resisted governmental oppression through peaceful means, becoming willing martyrs for the cause of justice. Dickinson’s parents raised him to undertake this work as a lawyer, sending him to Philadelphia to read law with former king’s attorney John Moland. This chapter paints a picture of 1750s Philadelphia with its orderly streets, multitude of voluntary organizations, and raucous Quaker politics. At the end of his time, Dickinson passed the bar and prepared to embark on further legal training in London.