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The purpose of this paper is to analyze the recontextualization in the 'speech of the personified Laws' of two phrases in the argument of Socrates' interlocutor Crito. We will see that through this recontextualization, these two phrases are (1) invested with a new meaning, and (2) through acquiring this new meaning, disarm the original force of Crito's words. Since both of these phrases are part and parcel of the ancient Greek ideology of philia, the relation to one's kin and the obligations and loyalties this entails, this paper will first highlight how Crito's argument is indebted to philia-ideology, and proceed to show that, whilst upholding the overall importance of philia as loyalty per se, the same phrases become part of a different philia-relation in the Laws' speech: not between biological parent and son, but between the laws as parents and citizens as offspring.

This article makes four points. First, in making raised, tangible outline pictures, blind people can invent sophisticated treatments for topics they select themselves. Second, their drawings can be realistic. Third, they can also be metaphoric, in showing sounds for example. Fourth, their outline drawings use line for surface edges, and they incorporate aspects of perspective such as profiles. These points are illustrated by three drawings by EW, a blind woman. They are sketches of a couple waltzing, a guitar player, and a samba band. The account of line and profiles given here for the blind, this article argues, applies also to Palaeolithic art, as in Herzog's 'Cave of forgotten dreams' and Cook's 'Ice age art: the arrival of the modern mind'.

Abstract
In this paper I apply the concept of migratory aesthetics to practices of performance and installation art. I begin with two examples of artists-migrants, the Nigerian-British artist Yinka Shonibare and the Vietnamese-American artist Dinkh Q. Lê, and continue with Chinese artists who took the Great Wall of China as the locus but also the main motif of their performances and installations. I selected the work of Concept 21, the Yuanmingyuan group, and Xu Bing. I stress the importance of these art forms in relation to migratory aesthetics. I argue that it is the combination of signifiers inspired by Western art and Chinese iconographies - with sometimes intentionally encrypted symbols - that gives us a better understanding of the mobility and hybridity of aesthetics in times of globalization, which is therefore not restricted to artistic practices of migrants.

We most commonly encounter the word defiance when used as an adverb to classify a peculiarly courageous or risky act of resistance. However, the use of the word defiance in this way is a departure from the historical meaning of the word. Moreover, it occludes the possibility that there exists political activity that is manifestly defiant. The article takes issue with this tendency and identifies a mode of resistance that is explicitly defiant. In order to do this, the paper draws from the phenomenological approach underpinning the standing sculptures of the British sculptor Antony Gormley. This informs an exploration of the protest enacted by the standing man of Taksim Square, who participated in a large antigovernment movement in Turkey in 2013. In acts we might distinguish as defiant, the paper demonstrates the materialist vulnerability of the protesting body, the aesthetic ontology at work, the prevalence of the standing metaphor, the role of silence, and the absence of futurity. By unearthing defiant modes of protest, the heterogeneity of resistance is affirmed, and a new domain where art encounters the political is revealed.

How are the aesthetics of fear politically mobilised & politically mobilising? This article directs this question to a specific series of events beginning with the bombing of the London transportation system on 7/7, the near repeat performance of this event on 7/21, & the 'Shoot to Kill to Protect' policy's first application which resulted in the killing of electrician Jean Charles de Menezes on 7/22. In particular, it addresses itself to one specific aestheticisation of fear, the images posted on the website Werenotafraid.com & the incessant circulation & discussion of these images since 7/7. The article argues that the asetheticisation of the London bombings through this specific website illustrates the often overlooked second movement in the Kantian sublime: the movement from rupture to a restoration of order & of closure. What interests me are the aesthetic strategies by which Werenotafraid.com effects a restoration of order & gives closure to the breakdown of the British imagination, of not only national security but also unity. This article first traces the reliance of these aesthetic strategies on a Kantian morality. It then explains how these Kantian-inflected strategies repair the breakdown of the British imagination of security through a very specific 'panhuman' restoration of British unity. Finally, it analyses the failures of the Werenotafraid.com project, politically & morally. Figures. Adapted from the source document.

How are the aesthetics of fear politically mobilised and politically mobilising? This article directs this question to a specific series of events beginning with the bombing of the London transportation system on 7/7, the near repeat performance of this event on 7/21, and the `Shoot to Kill to Protect' policy's first application which resulted in the killing of electrician Jean Charles de Menezes on 7/22. In particular, it addresses itself to one specific aestheticisation of fear, the images posted on the website Werenotafraid.com and the incessant circulation and discussion of these images since 7/7. The article a rgues that the asetheticisation of the London bombings through this specific website illustrates the often overlooked second movement in the Kantian sublime: the movement from rupture to a restoration of o rder and of closure. What interests me are the aesthetic strategies by which Werenotafraid.com effects a restoration of order and gives c losure to the breakdown of the British imagination, of not only national security but also unity. This article first traces the reliance of these aesthetic strategies on a Kantian morality. It then explains how these Kantian-inflected strategies repair the breakdown of the British imagination of security through a very specific `panhuman' restoration of British unity. Finally, it analyses the failures of the Werenotafraid.com project, politically and morally.