How do we react to uncomfortable futures? By developing the notion of chronopolitics, this article presents two ways that we typically react to future challenges in the present. At the core of the chronopolitics of prevention, we find a striving for normalization and conservation of the present vis-à-vis dangerous futures. In contrast, the chronopolitics of preemption are geared towards a reformation, if not even a revolution of the present. Two case studies in the field of science and (...) technology policy illustrate the difference between prevention and preemption. The debate on human embryonic stem cells illuminates prevention. The debate on nanotechnology clarifies preemption. (shrink)

The article discusses the relevance of sensor-technologies as media. Beyond technical affordances sensors act as agents of implementing and activating a more-than-human sensorium within encompassing technoecologies of sensation. Outlining the onto-epistemological implications of being ‘in touch with’ sensor-media, the contribution raises questions of what it means to be included in an infrastructure of sensorial interfaces - not only of tech-assisted human-to-human or human-to-machine communication, but of unmanageable processes of machine-to-machine exchange. Delineating sensors as media necessitates reflections on the temporal relations (...) that define the ‘contemporary condition’ of intensified global computation, technological interconnectedness and the ontogenesis of sensor-media milieus, their respective temporalities and concomitant aesthetics of experienced time. (shrink)

Cette recension a déjà paru dans Critique d'art, le 4 novembre 2014. Renate LORENZ, Not Now! Now! Chronopolitics, Art & Research, Berlin, Sternberg Press, 2014, 187 p. Not Now! Now! prolonge les réflexions engagées lors du colloque international éponyme à l'Academy of Fine Arts de Vienne en 2013 qui réunissait théoriciens et artistes autour des chronopolitics. Si la durée, le rythme et l'ordonnancement du temps sont des enjeux majeurs dans la compréhension des évènements - Recensions.

Starting from J. Fabian’s critique of anthropology and its study of the ‘primitive’ Other, Fernando Esposito discusses R. Koselleck’s work as a critique of historical practice, not least the practice of periodization. While often understood as ‘merely’ a contribution to the question of temporalities, Koselleck actually aimed to develop a new way of writing and understanding history. Seen in this light, his work on historical time is really about a fundamental theoretical reorientation of the discipline. This fundamental reinvention of history (...) was the central problem Koselleck wrestled with. Based on his personal experience of the Third Reich and the Second World War, he came to the conviction that history had no meaning and no goal, and therefore undertook a historicization of historicism, i.e. a re-evaluation of the way history had been written up to his own times. Koselleck’s historicization of historicism was a decisive chronopolitical act. It was catalyzed by his intention to debunk an unhistorical understanding of history and to replace it with a self-reflective, truly historicist historicism, a metahistory reflecting upon the ‘conditions of possible histories’. (shrink)

Introduction : the future taken seriously -- The future of democratic societies : a theory of intergenerational justice -- The temporal landscape of contemporary society : a theory of acceleration -- How do we know the future? : a theory of future studies -- How is the future decided? : a theory of decision -- Who is in charge of the future? : a theory of responsibility -- Chronopolitics : a theory of social rhythm -- Politics in a post-heroic (...) society : a theory of political contingency -- The political construction of collective hope. (shrink)

Claiming that individuals and communities get their choices, rhythms and practices biopolitically choreographed by temporal mechanisms that dictate which human experiences are included or excluded, Elizabeth Freeman states that those ‘whose activities do not show up on the official time line, whose own time lines do not synchronize with it, are variously and often simultaneously black, female, queer’. The narrative subject of Bernardine Evaristo's Girl, Woman, Other is black, female and queer in her design of a polyphonic text featuring twelve (...) black women moving through the world in different decades and occupying a temporal dimension that deviates from the linear and teleological modes. I draw on Edelman ; Freeman and Ahmed to analyse Evaristo's novel as a text informed by feminist queer temporality and thus explore these characters’ resistance to chrononormative assumptions like ‘the straight time of domesticated gender, capital accumulation, and national coherence’. In this light, I address her cast of ‘time abjects’ –lesbians, transgender women, feminist killjoys and menopausal females—as characterized ‘chronotopically’ as their racialized and gendered subjectivities coalesce temporally and spatially seeing their pasts and futures interact in a typically transpositional, queer and diasporic continuum. By invoking Freeman's notion of ‘erotohistoriography’ as a distinctive mode of queer time that not only recognizes non-linear chronopolitics, but decidedly prioritizes bodies and pleasures in self-representation, I contend that Evaristo depicts bodies as likewise performing this encounter between past and present in hybrid, carnal and trans-temporal terms. I conclude that in her joining temporality and corporeality, memory and desire, she suggests alternative ways of representing contemporary black British womanhood. (shrink)

Time Tells is a grand study of time, technology, performance, the attention economy, and comedy. Using the cinematic time-jump, "a numerical shorthand for a fated intermission," to weave a narrative of chronopolitics, memoir, and cultural study, Masha Tupitsyn constructs a unique literary and visual phenomenology on the loss of time, presence, and attention in the digital age. Structured into two interlocked inquiries--Time and Acting--Time Tells focuses on the internet to talk about the ethics of presence and attention, comedy to (...) talk about timing and the language of critique, and lying masculinity, the double, and acting to talk about performance and the reign of falsehood. Both volumes intersect to examine our inability to experience coherence and integration in the post-truth era. In the first volume, Time, Tupitsyn covers wide-ranging cultural touchstones such as the '90s TV show Felicity, Hitchcock's Vertigo, Luca Guadagnino's Call Me by Your Name, Joan Didion's The Year of Magical Thinking, Pretty Woman, Wong Kar-wai's 2046, David Fincher's Zodiac, Jean-Luc Godard, the Beastie Boys, Wim Wenders, the art of style, memory and music in the post-internet age, and the lost ontology of cinema. Using what Tupitsyn terms "screen-shot criticism," Time Tells makes innovative critical thinking accessible to anyone interested in American culture today. (shrink)

The paper seeks to examine whether Roman emperors legitimized their political actions with a view towards the future achievement of social and political order. The heuristic point of departure is Koselleck’s concept of ‚futures past‘ (vergangene Zukunft) which has been widely discussed in early modern and medieval research while its applicability to prechristian antiquity is still unexplored. The example of the so-called reforms of Augustus and Diocletian reveals that even in response to severe crises in the Roman Empire the emperors (...) did not command any ideas of order in alternative to prevailing conditions. Neither did they have any ‚master plan‘ of coordinated reforms, but reacted in a situational manner with improvements of administrative practice which were mainly aimed at consolidating their power and authority. All ‚reforms‘ were pronounced retrotopically as a return to better days (restitutio) or as a preservation (conservatio) of ‚happier times‘ (felicitas temporum). Looking at the monarchical discourse of power and the messages exchanged in various media between the emperor and his subjects, it is evident that the dominant time regime of imperial chronopolitics lay in a ‚presentism‘ which extended the present, as ‚eutopia‘, into eternity and glorified it as a golden age, whereas the future was only envisaged in dynastic terms. The horizon of expectations of both the emperor and his subjects was restricted to present-day provision. Only Christians were able to imagine a worldly and transcendent horizon of the future. The political success and duration of the Roman Empire left no room for alternative horizons of possibilities, which also explains why the Roman Empire – in contrast to the Greek world – had no notion of utopia. (shrink)

Le problème public de l’exclusion du logement est régulé depuis les années 1980 par une action publique d’urgence : l’urgence sociale. Un de ces dispositifs centraux, l’hébergement, fonctionnait avant 2007 sur une temporalité spécifique : l’aide ponctuelle, qui fragmente l’habitat des plus précaires et qui fragilise leur rapport à l’avenir. C’est en ce sens que l’urgence sociale peut être conceptualisée comme une chronopolitique. En raison des conséquences épuisantes qu’elle a sur ses « bénéficiaires », cette chronopolitique a fait l’objet d’une (...) mobilisation revendiquant un droit à la continuité de l’habitat. Une écologie temporelle, prenant la forme d’une durée de séjour adaptée aux besoins singuliers des hébergés, est inscrite dans le droit par la loi Dalo. Mais ce droit est encore ineffectif, et les raisons s’en retrouvent aux différents niveaux de l’action publique : les gestionnaires de places se voient souvent contraints de partager temporellement le bien rare en donnant sa chance à tout le monde ; la rareté des places d’hébergement est entretenue par l’État central qui cherche ainsi à limiter l’appel d’air des précaires ; les travailleurs sociaux ressentent un désarroi face aux manières d’habiter inconditionnellement un hébergement à durée indéterminée. La possibilité d’habiter durablement dans un lieu garanti par des institutions et en dehors du marché du logement souffre d’une faible légitimité. (shrink)