Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State (...) of Fiume, for which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

Whereas mainstream theories of environmental art and sustainable development consider art as a domain suitable for the application of environmentally friendly procedures, such as the circular economy, trash management and digitization, this research article focuses on the internal development of the autopoetic and self-referential art machine, which generates an art-specific sustainability. The circular environmental economy coexists with the circular art economy, which implies changes in the aesthetics and poetics of the artwork; it deploys upcycling to use art trash in creating (...) a new, higher value object. Art-specific sustainability contributes to the power and complexity of the art machine with new conceptual interventions and devices. These devices allow art to resist threats from other fields and to redefine itself. As sustainable development agendas of international organizations take into account the social, political, and economic initiatives that promote ethics, inclusion, and tolerance, this article discusses the contributions of contemporary environmental art to expanded concepts of the political and science. In particular, art activism, in cooperation with civil society, can be an important driver in areas that parliamentary politics overlooks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'I am cringe, but I am free':A Reparative Reading of Assuming the Ecosexual PositionVanesa Raditz (bio) and Jess Martinez (bio)Annie Sprinkle, Beth Stephens, Jennie Klein, and Linda Montano. Assuming the Ecosexual Position: The Earth as Lover. University of Minnesota Press, 2021. ISBN 9781452965796.INTRODUCTIONEcosexual: Eco from the ancient Greek oikos; sexual from Latin, sexuales 1. a person who finds nature romantic, sensual, erotic, or sexy, which can include humans or (...) not. 2. A new sexual identity (self-identified). 3. A person who takes the Earth as their lover. 4. A term used in dating advertisements. 5. An environmental activist strategy. 6. A grassroots movement. 7. A person who has a more expanded concept of what sex and orgasm are beyond mainstream definitions. 8. A person who imagines sex as an ecology that extends beyond the physical body.Assuming the Ecosexual Position: The Earth As Lover (Sprinkle and Stephens 2021, 2)What does it mean to take the Earth as a lover? How does it change our experiences of pleasure in our bodies to give attention to the eroticism of air in our lungs, mud on our skin, or water in our throats? How would it shape our ethical commitments to these elements that we depend upon for life if we were to reconnect with them as pleasurable extensions of our own bodies? These questions are at the heart of the decades-long research-creation performance-art collaboration between Annie Sprinkle and Beth Stephens that has built an international "ecosexual" identity and movement, a tale that they document in their new book, Assuming the Ecosexual Position: The Earth as Lover. Part travelog, part relationship memoir, part how-to guide, Assuming the Ecosexual Position chronicles [End Page 105] the emergence and evolution of their ecosex concept and community through a playful recounting of over a decade of productions: performative weddings to the earth, moon, lakes, rocks and beyond; theatrical two-women sexecology performances that culminate in explicit sex in piles of earth; ecosex walking tours; workshops; public sex clinics; documentary films; and so much more.Woven throughout are philosophical reflections on the entanglements between bodies, land, sex, eroticism, and love, many of which emerge from ecofeminist thought, pollinated with the post-porn, sex-positive, queer feminism of the 80s and 90s. In introducing their philosophical inspirations, they name Greta Gaard's classic piece on queering ecofeminism (18) which stimulated a body of work describing the ways that patriarchal systems of power simultaneously oppress women, the erotic, and nature (1997). Drawing upon Sprinkle's background in porn and post-porn modernist theater, Stephens' background as a queer artist with a doctorate in Performance Studies, their mutual interest in sex education, and their love for the redwoods of Santa Cruz, the pair crafted ecosexuality as a particular lens for expanding queer ecofeminist inquiry into the power of sexual liberation for ecological liberation, which they do through the creative methodologies of performance. The performance art practice that they develop has significant inspiration from the Fluxus art movement, which resisted the authority of museums to define the meaning or value of art, and encouraged the active practice and production of art throughout life.Among the inspirations they list in the introduction to Assuming the Ecosexual Position, Donna Haraway and Kim TallBear stand out. Donna Haraway's presence is felt throughout the book—as a colleague of Stephens at UC Santa Cruz, as a friend at their Wedding to the Earth, as a collaborator in the documentary Water Makes Us Wet, and ultimately, as a posthuman philosopher (Haraway 2000) who has inspired Stephens and Sprinkle to "see ecosex as a conceptual art practice and a way of thinking beyond individual identity, and even beyond human beings, to envision a larger system—an ecology of relationships" (8). The authors also express the influence of their evolving relationship with Kim TallBear, with whom Beth studied while pursuing her PhD, and who has encouraged the pair to leverage this posthuman and new materialist consciousness towards decolonial politics (TallBear 2015). They cite one of TallBear's blog posts on ecosexuality, where she encourages ecosexuals to use a critical eye towards "New Age" appropriation of Native American ceremonies... (shrink)

This paper reports experiences from an art-science project set up in an educational context as well as in the tradition of placing artists in labs. It documents artists’ and scientists’ imaginations of their encounter and analyses them drawing on the concepts of “boundary object” and “boundary work”. Conceptually, the paper argues to broaden the idea of boundary objects to include inhibitory boundary objects that hinder rather than facilitate communication across boundaries. This focus on failures to link social worlds brings the (...) boundary object concept closer to Gieryn’s boundary work and allows for a co-application of the two concepts in the analysis of cross-boundary communication. Empirically, the paper provides an in-depth ethnographic description of an art-science project as a resource for future practice. In conclusion, the art-science encounter included meeting points as well as multiple levels of boundary work which engaged the artists in a different way than as illustrators of scientific representations of climate change. The closer they got to the research practice the more the public and policy construct of climate change disappeared. Rather than political activism, the approach triggered explorations of the scientific context, including affirmative as well as critical re-imaginations of research practices. Artists and scientists acted as publics for one another, as resources to draw on for reflection and self-identification. But instead of cutting back or renegotiating standards of one’s own practice, especially the artists engaged in boundary work creating space to produce a piece of art according to their own criteria of quality and relevance. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (2000), which (...) characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

In analyzing the development of the concept of civil rights since the adoption of the Fourteenth Amendment, two historical accounts seem available. According to the first account, the concept initially encompassed a relatively limited set of rights, associated with the ability of all citizens to engage in the productive activities of the economy and avail themselves of the protection of the legal system. Then the concept gradually expanded to include what had initially been thought of as (...) political rights, such as the right to vote, and then to identify the entire set of rights to equal treatment in all domains of life outside a relatively narrowly-defined private sphere. According to the second account, the concept of civil rights was fuzzy from the outset; although political actors spoke as if they had a clear understanding of distinctions among civil, political, and social rights, close examination of their language shows that the distinctions tended to collapse under slight pressure. (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ECHIC—The European Consortium for Humanities Institutes and Centres 2023 Annual ConferenceIlenia Vittoria CasmiriEcological Mindedness and Sustainable Wellbeing, ECHIC—The European Consortium for Humanities Institutes and Centres 2023 Annual Conference, May 25–27, 2023, University of Ferrara, ItalyThis year’s annual conference of the European Consortium for Humanities Institutes and Centres (ECHIC) invited international scholars with diverse backgrounds to explore visions of a desirable future world that is both environmentally sustainable and socially (...) just. In stressing the social and political relevance of the humanities in Europe today, the main goal of the Consortium, as it is articulated on the conference website, is the pursuit of the highest international standards of excellence with a spirit of innovation and exploration of new research areas:Since the World Commission on Environment and Development published Our Common Future (1987) [commonly known as the Brundtland Report], the notion of... sustainability has been expanded to incorporate environmental, cultural, legal, and economic features of a low-carbon future and to encompass the wellbeing of all living species, which involves material aspects such as the social acceptance of resource-efficient transitions and immaterial ones such as flourishing human capabilities. [End Page 625]The participants of the 2023 ECHIC conference on Ecological Mindedness and Sustainable Wellbeing presented original, multidisciplinary perspectives, and offered valuable opportunities to develop holistic approaches to the prismatic issue of environmental sustainability. Bringing together cultural diversity as well as local and global perspectives, keynoters and panelists addressed the vast array of challenges imposed by the perpetuation of anthropocentric worldviews. Their challenge to traditional demarcations between the humanities, the social sciences, economy, law, architecture, engineering, and the life and medical sciences, generated synergies for exploring interconnections between life forms, resources, and heritage. While the theoretical frameworks varied considerably, they all advocated for the need to overcome ideological, cultural, and spatial barriers in favor of broader, more inclusive approaches to other disciplines, other cultures, other humans, other species. Overall, the conference not only exposed the cultural and economic roots of social inequality and of uneven distribution of resources, thanks to unsustainable modes of capitalist production and consumption, but also highlighted the media’s positive effect in eliciting pro-environmental behaviors.Toward More Sustainable FuturesThe prismatic nature of the concept of sustainability inspired keynote speakers Alexa Weik von Mossner (University of Klagenfurt), Adrian Ivakhiv (University of Vermont), Tim Waterman (University College London), and Antonio López (John Cabot University) to address climate apocalypse impacts on the human physical and psychological well-being from diverse personal and academic backgrounds.In the opening keynote lecture, “Growing Hope: Narratives of Food Justice and Sustainability,” Weik von Mossner explores the psychological implications of affect and emotion in the communication of environmental issues. Her diachronic account illustrates the rise and fall of the South Central Farm in Los Angeles, a sanctuary for locals by providing fresh produce, stimulating a sense of community, and representing a symbol of resilience against systemic inequalities. Weik Von Mossner elucidates the psychological benefits accruing from exposure to such a sustainably inhabited space. Her analysis of Scott Hamilton Kennedy’s documentary, The Garden (2008), affirms that climate change narratives across media may prompt food justice activism (Retzinger 2011, 337) by eliciting the emotional engagement of its audience. [End Page 626]However, observes von Mossner, the greater the popularity of the Farm, the greater the threat posed to its existence. Through documentaries, news articles, and online campaigns, the South Central Farm has received national and international attention. At the same time, media have shed light on the struggles faced by marginalized communities and provided a solid basis for discussions on social justice, environmental activism, and the value of communal spaces. She explains that activists used social media to voice their concerns about the potential eviction and the loss of a vital resource for the local community, leading to an outpouring of support from environmentalists and celebrities who had realized to what extent the predominantly low-income, minority community was affected by limited access to fresh food and green spaces.Adrian Ivakhiv, delivering his keynote “How to Face the Angel of History: A Call to Anthropocenic Conscience” the following day, suggests that a pervasive lack of an emotional... (shrink)

Activist and political art works, particularly feminist ones, are frequently either dis-missed for their illegitimate combination of the aesthetic and the political, or embraced as chiefly political works. Flawed conceptions of politics and the imagination are responsible for that dismissal. An understanding of the imagination is developed that allows us to see how political work and political explorations may inform the artistic imagination.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about the term (...) "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

To do minor activist research is to create and make use of critical neologistic vocabularies hopefully balancing the ascetic impoverishment of direction and syntax in majority vocabularies when conceptualized as universals. To do minor activist research is therefore to unsettle received discourses, narratives, and material social practices of power to develop means of resistance in new and different registers. To do minor activist research is to train the imagination for a collaboratively accomplished re/presentation of data through creating points of encounters, (...) thus engendering an affirmative perspectivist’s ethos. Re/presenting data as a space in which one’s own thinking is challenged, hence providing a perspective of the storying practices across participants and across different disciplinary, ideological, or personal boundaries within the researcher’s and the researched specific positioning. This requires getting everyone to participate in the “analysis” of data, and then getting everyone “inside” the text: situating data-inquiries in immanence. It therefore demands a liberation from old scripts, and challenges how everyone is transformed into text, with perspectivism being simultaneously means and objective for avoiding the reproduction of both old scripts and ethics. Our goal is to enhance (self)reflexivity regarding knowledge production and research methodologies, to influence actual research practices through fostering a more inclusive, open, and collaborative approach to research that transcends traditional boundaries and embraces the fluid and hybrid nature of knowledge production. Ultimately, turning the concept of ethics through minoring into a thinking hub and pedagogy for change. The first and theoretical section is on how to ethically represent data in a new-empiricist and post qualitative environment. We call it data-philosophy. Our ontological approach brings its own concepts, which reflect the perspectives from which we argue. In the three next sections, we follow up by looking more closely into these ideas in re/presenting empirical qualitative research to invite hybrid and fluid configurations. Here, activist research refers to bringing actors into our thinking about the data, to accentuate the collaborative, open to thinking differently through staying close to the data. We then bring it all together in a section on the rebirth of language, to open for what we refer to as a storying personifying, thereby storying data together as a process of becoming, of mutuality and affect as a source of agency. We argue that this creates a theory of science and ethics in data analysis, and in re/presenting data, which are closely entangled. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

André Comte-Sponville is a French philosopher-essayist, pondering the problems of morality and life wisdom. He develops the conception of ego-philosophy that is the theory based on the analysis of the subjective existential human experience. As an initial evidence of consciousness and a point of support for philosophical reasoning, he cites feelings of anxiety, despair and suffering. Ego possesses being, it is a subjective reality that is revealed to a man as a result of free and creative perception of the world. (...) This knowledge is always unique, situational, not amenable to formalization and unification, because it is a result of a personal relation of man to the absolute. Ego-philosophy is not a traditional scientific discipline, summarizing specific facts and formulating theories. Ego-philosophy expresses itself in a generally accessible language and appeals to all mankind. This is an art of life wisdom, indicating to the individual a path to true ideals, allowing one to gain dignity and happiness, to free oneself from temptations and passions. Comte-Sponville substantiates the ethical theory that, under the conditions of the crisis of traditional ideas about moral norms, a person must strive to fill the emptiness of the world with his own creative energy, give meaning to life, affirm positive values. The philosopher creates a theory of virtues in which he takes the leading role in sublime love (agape) as the apotheosis of generosity and mercy. In the area of politics, Comte-Sponville adheres to the position of socio-liberalism. Recognizing the economic efficiency of market relations and the principle of freedom action, the philosopher believes that the logic of economic activity does not coincide with socially important tasks and ethical values. In order for society to develop harmoniously, it is necessary to create a welfare state and reliable political institutions that ensure the observance of the principles of humanism, high culture and justice. (shrink)

Cimatti and Salzani have put together a rich collection of essays on animal studies that provides an exhaustive overview of how Italian contemporary philosophers are engaging with animal ethics, antispeciesism, posthumanism, ecofeminism, and biopolitics. This edited volume represents an important development in the “animal turn” in the humanities, particularly because it is published in English, allowing for a more efficient dialogue between “Italian theory” and philosophers around the world. This is, in fact, the first collection that will give an international (...) audience access to the rich and varied contribution of Italian contemporary philosophy in the burgeoning field of animal studies. It is also important to point out that all the authors—who are either well-established erudite thinkers or bright and innovative new voices in the panorama of Italian philosophy—effectively engage with recent and prominent scholarship in the fields of animal studies, posthumanism, and biopolitics, such as the work of Zizek, Esposito, Hardt, Calarco, Braidotti, and Wolfe.The volume is clearly intended for an academic audience: professors, scholars, and graduate students studying not only philosophy, Italian studies, environmental humanities, and animal ethics, but also political science, ethology, comparative literature, art history, and religious studies. In addition, the book could also find an audience in animal rights and environmental activists who are interested in the philosophical aspects and ethical and political implications of their actions.The division of the book into three sections (“Animality in the Italian Tradition,” “Animality in Perspective,” and “Fragments of a Contemporary Debate”) provides the reader a clear trajectory from the Italian philosophical tradition to the current debate on “animality.” In the first section, in fact, the authors engage with the rich and complex tradition of both Italian animal philosophy and advocacy. In the three essays that make up this section, the authors provide a compelling historical perspective of the anti-Cartesian and antidualistic aspects of Italian thought, tracing its pre-Cartesian origin and post-Cartesian developments through the work of Francis of Assisi, Dante Alighieri, Giordano Bruno, Giambattista Vico, and Giacomo Leopardi, among others. This section also includes essays outlining the development of animal bioethics in Italy, which emerged from the work of animal advocacy pioneer Aldo Capitini and continued to have an important impact on Italian culture thanks to the antispeciesist movement and debate, of which the third essay of this section provides an exhaustive intellectual history.The second section of the volume, comprised of six essays, provides an overall view of the ongoing philosophical debate on animality that traverses Italian posthumanism, feminism, theology, biopolitics, environmental ethics, and Marxist thought. Here the authors engage with some of the prominent voices in the contemporary Italian philosophical landscape, such as Giorgio Agamben, Roberto Esposito, Roberto Marchesini, Antonio Negri, Maria Turchetto, Adriana Caravero, Luisa Muraro, and Paolo De Benedetti. As pointed out by the editors in their introduction, this section does not intend to offer a complete account of the extensive and heterogenous exchanges occurring inside the Italian biological turn, but instead aims at investigating its most compelling approaches and effectively links them to the ongoing transnational debate.The rich historiography and analysis of the first two sections is complemented, in the third section of the volume, by the speculative approach that strongly characterizes all five final essays. Here we can find some of the most exciting and original developments in Italian scholarship on animal philosophy. This section is, therefore, the most effective in presenting the distinctive approach of contemporary Italian philosophers in rethinking animality and the human-animal interplay, in particular inside the historical and epistemological frame of the Anthropocene. For instance, Massimo Filippi explores how slaughterhouses have become exemplary spaces to investigate the calculation that adds, subtracts, multiplies, and divides humans and animals, which removes animality and excises the other, which forcefully bans any imagining of the monstrously other, of the other-than-human, and that produces, among others and besides It-Self, the Woman, the Homosexual, the Abnormal, the Migrant, the Criminal, and the Animal. (p. 225)Structuring his argument on the real and metaphorical “mathematics of sacrifice” at work in the slaughterhouse (p. 226), Filippi engages with the processes that enable human ontological privilege, with intraspecific and interspecific mechanisms of discrimination, and with philosophical, political, and ethical implications of meat production.For a second and final example, ethologist Roberto Marchesini—one of the most original and prominent voices in animal studies—focuses on redefining the paradigm of “animality.” In his essay, Marchesini questions behaviorism and the automatism of learning, key aspects that have been prominent in defining animality in many fields, from biology to philosophy. Building from his groundbreaking and extensive work in ethology and zooanthropology, he argues for an “elaborative model” of animality (animal as subject) against the fallacy of the “automatism-based model” (animal as mechanism): Subjectivity is the implicit condition of the animal being, an expressive dimension that may also be unconscious but that precedes from (i) a constructivist conception of behavior, which we could explain by considering it a work in progress, always open and never predetermined, but equally never imposed and nonetheless always co-factorial to external contributions, and (ii) a propositional view of the individual, or rather from being supported by verbal structures such as to delight, to fear, to want, which join themselves to modal predicates declined according to context, but which likewise render the individual the protagonist. (p. 247)Animal studies has established itself as one of the most exciting areas of research inside the biological turn of the humanities worldwide and, by collecting such a large number of compelling and provocative theories from Italian contemporary philosophy, the impact of Cimatti and Salzani's volume will be twofold: It will enrich and expand a developing discussion in the environmental humanities and in animal studies while establishing the centrality of Italian thought in such an important and, in the Anthropocene era, necessary debate. (shrink)

From a largely Western phenomenon, the “animal turn” has, in recent years, gone global. Animals and Human Society in Asia: Historical, Cultural and Ethical Perspectives is just such a timely product that testifies to this trend.But why Asia? The editors, in their very helpful overview essay, have from the outset justified the volume's focus on Asia and ensured that this is not simply a matter of lacuna filling. The reasons they set out include: the fact that Asia is the cradle (...) of early human settlement and animal domestication; Asia encompasses an extreme diversity of closely connected ecosystems and human cultures; Asia is the place where the world's major religions originated; and, as in other parts of the world, Asia's use of animals for food and other utilitarian purposes constitutes a prominent feature of its culture. All of these factors, they argue, made Asia a unique lab for the exploration of major developments in human civilization and the complexities of human-animal interactions.Based on these premises, the book is divided into four parts, each concentrating on areas that the editors consider to have paramount significance in world history: Part I, “Hunting and Domestication”; Part II “Animals as Food”; Part III “Animals at War”; and Part IV “Animals in Culture and Religion.” As many good works on animal studies do, the volume adopts a truly cross-disciplinary approach, uniting scholars from disciplines as diverse as archaeology, history, anthropology, art, religion, literature, and cultural studies. It too takes an interregional approach and covers a vast geographical area, stretching from the western edge of Asia in the Levant to Central Asia, where once roamed the horses of the nomadic pastoral tribes, to the other end of Asia, including India, China, and Japan. Temporally impressive as well, the work takes us from the deep history of the Paleolithic period up to the contemporary world, exploring the diverse roles that a wide range of animals—horses, donkeys, camels, elephants, tigers, and so forth—have played in Asia's rich and unique past and present.Strong in archaeology, Part I, “Hunting and Domestication,” responds to the much-called for “deep” or “coevolutionary” history of human-animal relations in recent years. The three chapters discuss, respectively, the roles that proboscideans have played in the diet and culture of early societies in Paleolithic China and beyond; the ways in which animals of all sizes have been increasingly integrated into the diet, daily uses, trade, and warfare in Holocene Negev; and the diversifying roles played by donkeys in the early Bronze Age in Southern Levant as a food source, a means of transport and in ritual sacrifices. Together, they demonstrate, with reference to telling archaeological evidence how the early societies in this region have been highly dependent upon the increasingly sophisticated interactions with and uses of mega-herbivores in the protracted and by no means clear-cut transition from hunting and herding towards the agricultural way of life, affirming the co-existing and co-constituting relations between humans and other animals in the deep past of Asia.The chapters in the section on “Animals at War” equally reveal the crucial roles that animals have played in the military sphere, as either a practical war technology or a show of military power. “Elephants in Mongol History” revisits the thesis of elephant-mounted troops in South and Southeast Asia as a barrier to Mongol expansion. Through its lively account of the pivotal battles in Mongolian history, especially that against India and China, it illustrates with great success the complex interactions between animals (especially elephants, horses, and humans), technology, and the geographical environment, which jointly exercised their influence on the outcome of warfare and degree of success of political rule. Turning away from the dynamic of warfare, the following two chapters explore the biopolitical question of the management of the horse as a bio-resource in the Mamluk Sultanate of Egypt and Syria (1250–1517) and early Ming Dynasty China, respectively. The first one places its focus on the breeding, procurement, and feeding of the horse subjects in question, while the latter concentrates on the human organization of various resources for the upkeep of government horses—a conventional area of study called “horse administration” in the institutional history of the government in China.The last section, “Animals in Culture and Religion,” examines the changing images of apex predators, such as lions and tigers, in Buddhist perceptions from South Asia to East Asia; the cult of the Horse King in late Imperial China; and the significance of animal signs in Mongolian historiography. They represent an established approach in animal studies that seeks to understand different aspects of human culture through symbolic or metaphorical animals. Instead of treating the animals discussed as mere abstractions, which has been a frequent criticism of works that adopt this approach, the relations between the symbolic animals and their prototype in the natural world were attentively explored. The essay on the cult of the Horse King, for example, closely links the wax and wane of the cult since late imperial China with the changing use and subsequent disuse of the actual horses in agriculture, transportation, commerce, and quotidian life. Yet, classic as these essays on symbolic animals are, one does feel slightly unsatiated when coming to the end of this section, which also marks the end of this volume. Having been reminded early in the introductory essay that Asia was “a major site for the emergence of moral teachings and ethical guidance on the treatment of animals” and how this legacy “still affects the lives of billions of humans to this very day,” one feels naturally rather let down that no article in this volume directly addresses this vital ethical dimension, especially since it belongs to a series on “animal ethics.”Indeed, regarding the task of placing either the nonhuman animals or the ethical relations between humans and other animals center stage, the essays in this volume achieve only varying levels of success. Some authors exhibit a more acute awareness of what “animal studies” or “animal ethics” might entail epistemically and methodically and experiment by paying closer attention to the species-specific characteristics, experience, and agency of nonhuman animals in order to cast off the deified anthropocentrism previously ruled in humanist scholarship. However, others have made no such attempt. For example, in Part II of “Animals as Food,” an essay on the production and consumption of milk in contemporary China, albeit alert to the issue of health hazards to consumers, omits any consideration of the subject from the dairy cows’ perspective under the modern intensive farming system. Moreover, otherwise superb research on the tuna-fishing industry in Japan, with its insightful discussion of the nexus between knowledge economies and imperial politics, too passes over any discussion of the fate of the tuna, whether collectively as a group of living organisms containing 15 species or individually as animals with an embodied experience. One does ponder whether these essays would fit better in a volume on the cultural history of food or on the entwining history of knowledge production, economics, and politics, which conventionally position human interests at the center of research.Taken as a whole, this is an impressive volume that directs our attention to the hitherto understudied world of Asia in animal studies. The long durée, with its interdisciplinary and interregional approach, also most powerfully presents a past in Asia that could not have been the same without the participation of animals at every level, from everyday life to the shaping of cultural values, the construction of belief systems, the building of a national identity, and even the rise and fall of regimes. Scholars and students interested in expanding the frontier of our understanding of the world with a more inclusive “we” should find a wealth of interesting subjects on which to build further research. Finally, the volume also presents a fitting occasion for all scholars committed to animal studies to consider the grave challenge confronting the field that arose alongside its growing respectability and rapid expansion: Should it be oriented toward the destabilization of our previously anthropocentric conception of the world? Or should no such perimeter be imposed, as in this volume? The overall breadth and limitations of this volume leave one pondering this issue. (shrink)

This article considers the idea of gender hacking, particularly as it circulates in Paul B. Preciado’s Testo Junkie, and places this in the context of wider discourses of both bio- and computer hacking. Of particular interest is how a hacking paradigm has come to inform twenty-first-century theories of activist intervention, and the implications of this for contemporary conceptions of political agency. Drawing out the parallels between conceptualizations of hacking and transgression, the article considers both the possibilities and the potential limitations (...) of thinking about sociopolitical changemaking in these terms. Ultimately, it uses theories of transgression to propose a rethinking of the distinction between engineering and hacking, with a view to negotiating the conflict between micropolitical hormonal intervention and ambitions toward re-engineering biotechnical hegemony in gender-hacking projects. (shrink)

Anita Chari revives the concept of reification from Marx and the Frankfurt School to spotlight the resistance to neoliberal capitalism now forming at the level of political economy and at the more sensate, experiential level of subjective transformation. Reading art by Oliver Ressler, Zanny Begg, Claire Fontaine, Jason Lazarus, and Mika Rottenberg, as well as the politics of Occupy Wall Street, Chari identifies practices through which artists and activists have challenged neoliberalism's social and political logics, exposing its inherent tensions (...) and contradictions. (shrink)

Hans-Georg Gadamer criticizes Friedrich Schiller for inaugurating a merely aesthetic disposition toward reality. Such an aesthetic disposition, on Gadamer's account, is overly subjective. It also robs one of a genuine encounter with beauty that contributes to one's understanding. In my view, Schiller's position is not reducible to Gadamer's critique of it. Indeed, following scholars like John Pizer and Nathan Ross, I affirm that Gadamer does not fully appreciate the practical, political, and theoretical aspects of Schiller's aesthetics. In the following, I (...) focus on Schiller's political thought as it is developed in response to the French Revolution. In addition to contextualizing his political thought, I illuminate his account of the mediating play impulse, his conception of the beautiful, and his systematic understanding of freedom to argue that Schiller resists Gadamer's charge of aesthetic differentiation. By returning to Gadamer's critique, we can more fully appreciate Schiller's political invocation of the aesthetic domain. (shrink)

This study aims to alleviate the current tense employment situation and study the entrepreneurial situation of teachers and students in colleges and universities. Firstly, based on the educational concept of Science Technology Engineering Arts Mathematics, Ideological and Political Education is added to psychological capital to explore the effect of the combination of the two on entrepreneurial performance. An entrepreneurial performance impact model is constructed, and the questionnaire is set. Secondly, the influence of psychological capital combined with IPE on sports (...) morality is explored, and a sports morality questionnaire is designed. Finally, the questionnaire results are analyzed. The results showed that most of the participants in the survey are under the age of 25. The 25- to 29-year-olds are the smallest among those surveyed. The respondents who participated in the survey had the most undergraduate degrees, accounting for 43.4%. The 40 items on entrepreneurial performance this time obey a normal distribution, and the scale has good reliability and validity. The main factor analysis results obtained by principal component analysis include 6 factors. Their total explanatory power exceeds 67%, and the six factors screened out this time are well represented. The model tolerance is between 0.45 and 0.5, and the Variance Inflation Factor value is less than 10. The scale does not suffer from multi-collinearity issues. IPE significantly strengthens the effect of psychological capital on entrepreneurial performance. The influences of various sports on sportsmanship, bravery, self-confidence, and self-transcendence are significantly different, and the P value is less than 0.001. The difference in aggressiveness is less than 0.01, indicating that it is very significant. Different sports have significant differences in the cultivation of sports morality, and the P value is less than 0.05. The differences in self-discipline are also significant, and there are extremely significant differences in compliance with rules, and the P value here is less than 0.001. There are no significant differences in sporting qualities. IPE combined with psychological capital has a significant impact on entrepreneurial performance. These contents provide references for the entrepreneurship education of teachers and students in colleges and universities. The contribution lies in expanding the research on psychological capital in entrepreneurial performance and laying a foundation for the combination of psychological capital and IPE. (shrink)

The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the (...) grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. (shrink)

The universe is expanding, the world has gone global, and the US has launched a crusade to export the universal right to democracy to every part of the world. Under the circumstances, it is hardly surprising that the concept of universality is making a remarkable comeback in aesthetic and political theory. The meaning of the world, however, seems more contested than ever. Some denounce it as the ideological guise of particular interests, others as the conceptual equivalent of totalitarianism. But (...) a growing number maintain that universality is an indispensable notion for any genuinely critical aesthetics and politics. Confronting Universalites consists of 12 contributors that examine how contemporary works of art in different media and genres influence, shape, or confront the political realm in both theory and practice by way of the universal. The topics of the essays include depictions of German unification, identity politics of aesthetic taste, contemporary uses of van Gogh, globalized photography, the infamous Danish cartoons, iconic architecture, cinematic representations of migration, the speeches of Nicolas Sarkozy and the interventions of contemporary art in the war in Afghanistan. From various theoretical points of departure, they all demonstrate the importance of the universal in the description of political aesthetic practice in a globalising world. (shrink)

This article focuses on the analysis of the geo-politics and body-politics of being, and perception as the key concepts in the decolonial option grounded in the spatiality and corporeality of our cognitive and perceptive mechanisms. Revived spatiality refers in this case not only to a physical space that we inhabit but also to our bodies as specific spatial entities – the privileged white male bodies or the damned, non-white, dehumanized and often gendered and sexualized bodies from the underside of modernity. (...) The article presents a decolonial interpretation of the human/non-human binary aimed at rethinking the fundamental modern/colonial division into anthropos and humanitas and the subsequent animalization of large human groups. The main questions are then what does it mean to be animalized by and in modernity and what ways out are possible, desired and attainable for the dehumanized others? The main goal of the article is to further question liberal Western humanism from a decolonial perspective, without yet dropping this concept altogether, and considering instead another humanism model suggested by Sylvia Wynter. Contemporary critical anti-humanist and “other humanism” theories often find a much more accurate and immediate realization through artistic metaphors and activist art projects than traditional theory, problematizing the border between the human and the animal, the man-made and the natural, the individual and the communal. Therefore, the article dwells at some length on one such project balancing between art and critical anthropology – the works of the Northern Caucasus decolonial artist Taus Makhacheva. (shrink)

In this, his most influential work, legal theorist and political philosopher Carl Schmitt argues that liberalism’s basis in individual rights cannot provide a reasonable justification for sacrificing oneself for the state—a critique as cogent today as when it first appeared. George Schwab’s introduction to his translation of the 1932 German edition highlights Schmitt’s intellectual journey through the turbulent period of German history leading to the Hitlerian one-party state. In addition to analysis by Leo Strauss and a foreword by Tracy B. (...) Strong placing Schmitt’s work into contemporary context, this expanded edition also includes a translation of Schmitt’s 1929 lecture “The Age of Neutralizations and Depoliticizations,” which the author himself added to the 1932 edition of the book. An essential update on a modern classic, _The Concept of the Political, Expanded Edition_ belongs on the bookshelf of anyone interested in political theory or philosophy. (shrink)

Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In _Semblance and Event_, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question. It is, he argues, a question of abstraction, not as the opposite of the (...) concrete but as a dimension of it: "lived abstraction." A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented -- variously known as interactive art, ephemeral art, performance art, art intervention -- which he refers to collectively as the "occurrent arts." Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension. (shrink)

What is good political judgment? Is it a science subject to strict standards of logic and inference, or is it more like an art, the product of intuition, feeling, or even chance? Peter J. Steinberger shows how the seemingly contradictory claims of inference and intuition are reconciled in the concept of political judgment. Resting his argument on the larger notion of judgment itself, Steinberger develops an original model of how political judgments are made and how we justify calling some (...) of them "good." His systematic analysis of such thinkers as Machiavelli, Kant, Gadamer, Wittgenstein, and Oakeshott introduces an original notion of judgment as "intelligent performance," incorporating both intuition and rational reconstruction. Steinberger's conclusion—that a coherent political society must also be a judgmental one—flies in the face of much contemporary thinking. (shrink)

Mr. Cohen's political geography is unexpectedly topical. His conception of political philosophy is not so advanced; however Cohen's disposition is all for forward movement. Insisting perhaps too strongly upon the etymology of "political," Cohen would even have us cease doing "political philosophy"; for, he says, there are no longer any truly sovereign and autonomous states left in the world. The era of the nation-state has vanished quite as definitely into the past as the era of the city-state. We live in (...) a "polycentric" world community, under a regime of law, though the world community is not itself a sovereign state, nor are there any sovereign states that are a part of it. The members of the world community are people, obliged to support whatever international laws and agencies of international collaboration there are, and there are many of them. To assert that there is a world community is to imply that there are no sovereign national states to impose obligations equally eminent or superior. (shrink)

Essays explore the significance of Julia Kristeva’s concept of intimate revolt for social and political philosophy. Over the last twenty years, French philosopher, psychoanalyst, and novelist Julia Kristeva has explored how global crises threaten people’s ability to revolt. In a context of widespread war, deepening poverty, environmental catastrophes, and rising fundamentalisms, she argues that a revival of inner psychic experience is necessary and empowering. “Intimate revolt” has become a central concept in Kristeva’s critical repertoire, framing and permeating her (...) understanding of power, meaning, and identity. New Forms of Revolt brings together ten essays on this aspect of Kristeva’s work, addressing contemporary social and political issues like immigration and cross-cultural encounters, colonial and postcolonial imaginations, racism and artistic representation, healthcare and social justice, the spectacle of global capitalism, and new media. “This book is important for Kristeva scholars, as it expands and deepens areas of her work that have been dismissed by her critics. Further, it links Kristeva’s philosophy to historical philosophers, contemporaries, and how her philosophy applies to pressing problems today. All of the essays are well done and valuable.” — Danielle Poe, author of Maternal Activism: Mothers Confronting Injustice. (shrink)

This article is articulated in three voices of scholars who have worked on questions of war, visual culture, and contemporary political aesthetics that also relates to art and film practices. Media theorist Jussi Parikka, literary scholar Anders Engberg-Pedersen, and visual culture researcher Daniela Agostinho address the relations between images, aesthetics and operations through the lens of two books published concomitantly, Parikka’s Operational Images: From the Visual to the Invisual and Engberg-Pedersen’s Martial Aesthetics: How War Became an Art Form. Both books (...) expand the scope of what Czechoslovakian-born filmmaker Harun Farocki termed “operational images” in his experimental documentaries and theoretical writings from the early 2000s. Through his analyses of the politics of imagery in the military-industrial context, Farocki notably defined “operational images” as images that do not depict or represent but rather perform tasks such as tracking, surveilling, detecting, and targeting. For both Parikka and Engberg-Pedersen, Farocki’s central concept of operational images forms a point of departure for writing media archaeologies of the present. In a three-voiced dialogue, the authors unfold operations as a “machine of articulation,” a conceptual and analytical device that reveals surprising linkages and frictions across different themes, techniques, scales, and historical periods. (shrink)

This article, based on archival research and oral interviews, examines the personal and professional impact of desegregation on African American teachers in an urban southern setting by focusing on the life stories of two public school teachers, Kathleen Crosby and Bertha Maxwell-Roddey. Both taught in segregated schools, helped to desegregate Charlotte's public schools, and later forged successful career paths as administrators from 1946 to 1986. Focusing on the motivating factors and educational theories of these exemplary womanist teachers offers a window (...) into the lives of educators who forged new avenues for advancement in the urban South. This article also analyzes how the professional careers of Crosby and Maxwell-Roddey are emblematic of Tamera Beabuboeuf-Lafontant's theoretical concepts of womanist teaching. Patricia Hill Collins also argues that womanists strive to ensure group survival while pushing for institutional social change. Desegregation-era teachers such as Crosby and Maxwell-Roddey exemplify this dual purpose by expanding their mandate to serve to encompass political action as they challenged discriminatory school administrators and parents. These teachers practiced a form of caring activism that not only encouraged gender equality, but also adopted concepts of cultural nationalism to help Black children develop a positive self-identity (Beauboeuf-Lafonfant 2005, Collins 2000). (shrink)

This book presents a comprehensive study of Oakeshott’s conception of political activity. The author first examines Oakeshott in the contexts of liberal, conservative and Idealist thought, and then presents a detailed interpretation of the change in his conception of politics in the context of British postwar political thought. It is argued that Oakeshott’s conception of political activity shifted from a near contempt of politics towards the applauding of politics as a deliberative and reflective activity. The development is disclosed by examining (...) the change in his key concepts, such as authority and tradition. Accordingly, some rather unexpected aspects of Oakeshott’s thought, such as his close relationship to the linguistic turn, appear. The author argues that although Oakeshott cannot exactly be classified as belonging to that group of political philosophers for whom politics represents a superior human activity, his later work presents an important and original view of politics as an art of contingency. (shrink)

In this, his most influential work, legal theorist and political philosopher Carl Schmitt argues that liberalism’s basis in individual rights cannot provide a reasonable justification for sacrificing oneself for the state—a critique as cogent today as when it first appeared. George Schwab’s introduction to his translation of the 1932 German edition highlights Schmitt’s intellectual journey through the turbulent period of German history leading to the Hitlerian one-party state. In addition to analysis by Leo Strauss and a foreword by Tracy B. (...) Strong placing Schmitt’s work into contemporary context, this expanded edition also includes a translation of Schmitt’s 1929 lecture “The Age of Neutralizations and Depoliticizations,” which the author himself added to the 1932 edition of the book. An essential update on a modern classic, The Concept of the Political, Expanded Edition belongs on the bookshelf of anyone interested in political theory or philosophy. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

The photograph of Ai Weiwei’s middle finger set against the backdrop of Tiananmen Square has become an icon of politically subversive art. But can we see beyond the middle finger? Here I argue that current theories of political aesthetics operate on an oversimplified dichotomy between two competing paradigms of political art, and that this threatens a more nuanced engagement with contemporary artistic practices. In the first part, I re-examine both the antagonistic relation between art and politics exemplified in Plato's verdict (...) against poetry as a socially corrosive form of imitation as well as the instrumental relation of art and politics developed in Friedrich Schiller’s conception of aesthetic education as a means of social and political reform. Then, drawing on recent work by the controversial Chinese artist, I argue for a model of political art that can account for the more complex interrelation of criticism and cultural affirmation evident in a growing body of politically-oriented art. (shrink)

The ancient Greeks used the term _catharsis_ for the cleansing of both the body by medicine and the soul by art. In this inspiring book, internationally renowned cardiologist Andrzej Szczeklik draws deeply on our humanistic heritage to describe the artistry and the mystery of being a doctor. Moving between examples ancient and contemporary, mythological and scientific, _Catharsis_ explores how medicine and art share common roots and pose common challenges. The process of diagnosis, for instance, belongs to a world of magic (...) and metaphor; the physician must embrace it like a poem or painting, with particular alertness and keen receptivity. Speculation on ways to slow aging through genetics, meanwhile, draws directly on the dream of immortality that artists and poets have nourished through the ages. And the concept of _catharsis_ itself has made its way from the writings of Aristotle to today's growing interest in the benefits of music to health, especially in newborns. As Szczeklik explores such subjects as the mysteries of the heart rhythm, the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine. (shrink)

Cosmopolitanism has been used as a concept to open the horizons for being in the world. This article re-thinks the philosophical and political dimensions of cosmopolitanism by relating them to the new collaborative practices by artists. The concepts of agency and community will be grounded in a critical examination of the networking strategies and the practice of hospitality that have been cultivated by artistic collectives such as Stalker. The aim of this article is to ‘rescue’ the account of artistic (...) practice from the extreme version of quasi-mystical universalism and dogmatic political activism. It also seeks to argue that the abstract principles of cosmopolitanism are in a dialogue with the multicultural practices of everyday life. (shrink)

Today we come across new media art projects as post-industrial art services that occur at the intersection of contemporary art, new economy, post-political politics (activism, hacktivism), technosciences and techno lifestyles. The artwork is not a stable object anymore, it is a process, an artistic software, an experience, a service devoted to solving a particular (cultural and non-cultural) problem, a research, an interface which demands from its user also the ability for associative selection, algorithmic (logical) thinking and for procedures pertaining to (...) DJ and VJ culture, such as mixing, cutting, sampling and recombination. The art service is not so much the manufacturing of things as it is a process of reshaping the thing, moving it, repurposing it, connecting it and incorporating it into new contexts and relations. The service presupposes a problem, a challenge or an order to be solved or carried out. The performer of the service is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object. The service always implies an algorithmic procedure that has to be as rational as possible, economical, divided into phases, steps, instructions needed for it to be carried out. By defining the new media art in terms of post-industrial service activity, the traditional concepts of aesthetic and autonomous art are left behind and replaced with novel theoretical devices, e.g. software, repurposing, remixing, recombination, rewriting and hybridization. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

Few philosophers of science have influenced as many readers as Thomas S. Kuhn. Yet no comprehensive study of his ideas has existed--until now. In this volume, Paul Hoyningen-Huene examines Kuhn's work over four decades, from the days before The Structure of Scientific Revolutions to the present, and puts Kuhn's philosophical development in a historical framework. Scholars from disciplines as diverse as political science and art history have offered widely differing interpretations of Kuhn's ideas, appropriating his notions of paradigm shifts and (...) revolutions to fit their own theories, however imperfectly. Hoyningen-Huene does not merely offer another interpretation--he brings Kuhn's work into focus with rigorous philosophical analysis. Through extended discussions with Kuhn and an encyclopedic reading of his work, Hoyningen-Huene looks at the problems and justifications of his claims and determines how his theories might be expanded. Most significantly, he discovers that The Structure of Scientific Revolutions can be understood only with reference to the historiographic foundation of Kuhn's philosophy. Discussing the concepts of paradigms, paradigm shifts, normal science, and scientific revolutions, Hoyningen-Huene traces their evolution to Kuhn's experience as a historian of contemporary science. From here, Hoyningen-Huene examines Kuhn's well-known thesis that scientists on opposite sides of a revolutionary divide "work in different worlds," explaining Kuhn's notion of a world-change during a scientific revolution. He even considers Kuhn's most controversial claims--his attack on the distinction between the contexts of discovery and justification and his notion of incommensurability--addressing both criticisms and defenses of these ideas. Destined to become the authoritative philosophical study of Kuhn's work, Reconstructing Scientific Revolutions both enriches our understanding of Kuhn and provides powerful interpretive tools for bridging Continental and Anglo-American philosophical traditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 93-101 [Access article in PDF] A Political LifeArendtian Aesthetics and Open Systems Sue Spaid Since the 1990s, artists have broken ground by producing works that are "open systems." That is, they are incomplete, participatory, and elastic. In this paper, I will argue that open systems exemplify Hannah Arendt's conception of vita activa, in contrast to art's traditional role as inspiring vita contemplativa. Since (...) they do not explicitly affirm or refute political policies, such works are generally not considered "political" art. However, they accommodate Arendt's notion of the political life, since they incorporate process, durability, pluralities of spectators, and unpredictability. Furthermore, because they do not resemble what ordinarily passes for art, reflective judgment is required to engage them, and to determine whether they are art.Echoing Diotima's interest in immortality, Arendt links beauty to durability. Open systems are particularly durable because we remember them as a public experiences that include participants and spectators. Such performative and pleasurable worldly actions entail aesthetic engagements that are very much in line with Arendt's description of the political life. Critical Engagement In the sphere of fabrication itself, there is only one kind of object to which the unending chain of means and ends does not apply, and this [End Page 93] is the work of art, the most useless and, at the same time, the most durable thing human hands can produce... It is the reification that occurs in writing something down, painting an image, composing a piece of music, etc. which actually makes the thought a reality; and in order to produce these thought things, which we usually call art works, the same workmanship is required that through the primordial instrument of human hands builds the other, less durable and more useful things of the human artifice. (Arendt 2000, 177-78) In a 1964 interview with Gunter Gaus, Hannah Arendt described herself as a political theorist, who though trained as a philosopher had "said good-bye to philosophy once and for all." In identifying the tension between philosophy and politics, she differentiated man as a thinking being from man as an acting being, and she identified with the latter. She found that, because philosophers cannot be neutral or objective with regards to politics, they share a certain enmity toward politics, and she sought to avoid that response. Not surprisingly, she named Kant as an exception, because he understood this enmity to lie in the nature of the subject itself. In The Critique of Judgement, experience precedes reflective judgement, thus affirming a place for each subject's particular experiences. Kant, too, was a man of action.Kant's aesthetic judgment of taste, which is a normative but non-prescriptive process, makes room for Arendt's notions of worldliness and unpredictability. Critics have decried Arendt's political theory for its anti-rationalism, political existentialism and "aestheticization of politics," yet much can be learned from her clear commitment to equality, and the way she trusted and perhaps even idealized humanity (Curtis 1999, 18). She wrote, "Only action and speech relate specifically to this fact that to live always means to live among men, among those who are my equals. Hence, when I insert myself into the world, it is a world where others are already present" (Arendt 2000, 179). Given her interest in freedom, active engagement, critical thinking, and anti-instrumentalism, it is perhaps not surprising that Arendt found inspiration in Kant's conception of aesthetic judgment as requiring only communicative sociability, the object's purposeless purposiveness, and the spectator's free play of imagination and understanding.I am interested here in Arendt's aesthetics of the political life in relation to recent art that unwittingly fosters an engaged and open conception of the political. The works in question are not necessarily conscious of their political capacity. Rather, their presence assumes that spectators are [End Page 94] equals, and facilitates an active life, what Arendt described as the vita activa, as opposed to the vita contemplativa, the contemplative life. An active life, which requires a public space, entails active... (shrink)

Responsible citizens are expected to combine ethical judgement with judiciously exercised social activism to preserve the moral foundation of democratic society and prevent political injustice. But do they? Utilizing a research model integrating insights from rational choice theory and cognitive developmental psychology this book carefully explores three exemplary cases of morally inspired activism: Jewish rescue in wartime Europe, abortion politics in the United States, and peace and settler activism in Israel. From all three analyses a single conclusion emerges: the most (...) politically competent individuals are, most often, the least morally competent. This is the central paradox of political morality. These findings cast doubt on strong models of political morality characterized by enlightened moral reasoning and concerted political action while affirming alternative weak models that fuse activism with sectarian moral interests. They provide empirical support to further upend the liberal vision of democratic character, education, and society. (shrink)

This essay centralizes and explores Ernst Cassirer’s concept of style. Although it does not emerge as much as the concept of form or symbol in Cassirer’s corpus, style plays a major—if intrinsic—role throughout the Philosophy of Symbolic Forms. I shall examine how Cassirer’s conception of style is derived from Goethe’s theory of art and why it is fundamental to Cassirer’s theory of knowledge. Style is considered the defining feature of the cultural sciences, as well as the sign of (...) the anthropological character of the natural sciences, and, more generally, as the creative principle underlying all objectivity. I argue that it is therefore justified to read style as the fundamental yet variable expression of our symbolic relation to reality. Indeed, style refers neither to an abstract principle nor to a predetermined truth: it is a formative force actualizing itself in the incessant diversification of its forms. In so doing, Cassirer’s underexamined concept of style proves highly relevant in our times of epistemic and cultural pluralism. (shrink)

This article elucidates and expands on María Lugones's account of complex communication across liminal sites as the basis for deep coalitions among oppressed groups. The analysis underscores the crucial role that emotions and resistant imaginations play in complex communication and world-traveling across liminal sites. In particular, it focuses on the role of emotional echoing and epistemic activism in complex forms of communication among oppressed subjects. It elucidates Gloria Anzaldúa's storytelling and Doris Salcedo's visual art as exemplary forms of epistemic activism (...) that issue coalitional gestures and critical provocations that can wake people up from their epistemic slumbers and instigate forms of complex communication that can create new possibilities for coalitional politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Author, Art, and the Market: Rereading the History of AestheticsChristopher McClintickThe Author, Art, and the Market: Rereading the History of Aesthetics, by Martha Woodmansee; 200 pp. New York: Columbia University Press, 1994, $29.50.Martha Woodmansee’s book The Author, Art, and the Market: Rereading the History of Aesthetics deftly employs a historical, materialist focus to trace the growth of the middle-class in eighteenth-century Germany and to analyze its startling, (...) significant effects on literary aesthetics and the construction of canon, genre, and treatment of gender. The first five chapters are devoted, essentially, to an outline of the development of German aesthetics and the concluding chapter to the English reception of Kant. Woodmansee’s study offers much insight into the period and helps greatly to demonstrate “how a cultural formation that evolved as recently as ‘art’ could have entrenched itself so thoroughly that we imagine it always to have existed” (p. 8).Woodmansee’s central contention is that populist theories of aesthetics in Germany and England, which in many ways anticipated important elements of materialist or cultural studies emphases, were muted by canonized writers of the eighteenth century like Schiller, Wordsworth, and Coleridge. These writers propagated instead the Kantian notion of art as a realm separate from other human activities and the distinction between high and low art forms. The first three chapters are particularly strong and provide the historical and methodological underpinning for Woodmansee’s rereading of the history of German aesthetics. Chapter One begins with a discussion of the little-studied German writer Karl Philipp Moritz who, she says, “gave the first unequivocal and systematic expression to what I have called our modern conception of the arts” [End Page 176] (p. 11). Woodmansee points particularly to the fact that Moritz champions the notion of art as having an intrinsic value, an idea that five years later, in Kant’s Critique of Judgment, “came to fruition” (p. 12). In Chapter Two, “Genius and Copyright,” Woodmansee lucidly discusses texts such as Lessing’s essay “Leben und leben lassen,” clarifying the tensions regarding “the emergence in the eighteenth century of writers who sought to earn their livelihood from the sale of their writing to the new and rapidly expanding reading public” (p. 36). The survey includes Herder, Wieland, Fichte, and Goethe, and reveals how these writers’ concerns about the often exploitive relationship of authors and publishers, the growth of a middle-class readership, and the integration of literature into the general economy, greatly contributed to the establishment of the author as the main focus of any critical undertaking.It is Schiller, however, as the archinterpreter and proponent of Kantian aesthetics who is singled out for a particularly thorough rereading. In Chapter Three, Woodmansee writes that Schiller does not represent the kind of political liberality he is purported to in works like On the Aesthetic Education of Man (1793) but instead, “at a historical moment when so much discursive activity was being carried on in the name of the people, sought to write them out of his model of poetry” (p. 75). Schiller’s relationship to the middle-class market and its role in his transcendental aesthetic is graphically traced—from his attempts to penetrate the market and, failing this, his acceptance of, and dependence on patronage, and consequent dismissal of the reading public.In Chapter Six Woodmansee devotes her attention to English criticism, ending somewhat abruptly her discussion of German aesthetics with neoclassicism. Here she clarifies the great influence of Kant on Addison, Coleridge, and Wordsworth, who perpetuated the notion of art as an ideal realm, as well as the idea that criticism is a task which has “essentially to do with the recovery of a writer’s meaning” (p. 55). Woodmansee scrutinizes Wordsworth’s ostensibly nonmaterialist artistic motives partly by discussing the poet’s indefatigable efforts to get parliament to extend copyright laws in order to reward high art projects which, Wordsworth believed, the public could not properly appreciate until a later date. Woodmansee’s materialist focus seriously challenges the contention, as many would have it, that Wordsworth was a champion of the working people.Chapter Five, “Engendering Art,” does not adequately develop the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 259-285 [Access article in PDF] The Personal, the Political, and Others: Audre Lorde Denouncing "The Second Sex Conference" 1 Lester C. Olsen Those of us who stand outside the circle of this society's definition of acceptable women; those of us who have been forged in the crucibles of difference--those of us who are poor, who are lesbians, who are Black, who are older--know that (...) survival is not an academic skill. It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those others identified as outside the structures in order to define and seek a world in which we can all flourish.--Audre Lorde, Sister Outsider 112Fifty years ago, in 1949, Simone de Beauvoir's book entitled The Second Sex was published in France. She did not consider herself a philosopher because, to her, a philosopher was "someone who has built a great system" (Simons and Benjamin 1979, 338). Her book, nonetheless, became a milestone in feminist philosophy, for it synthesizes elements of existentialism, phenomenology, and socialism in an account of women's situation in society. Central to this account is Beauvoir's concentration upon representations of "self" and "other." For example, Beauvoir affirmed, "The category of the Other is as primordial as consciousness itself. In most primitive societies, in the most ancient mythologies, one finds the expression of a duality--that of the Self and the Other. This duality was not originally attached to the division of the sexes; it was not dependent upon any empirical facts" (1993, xl). In an interview, Beauvoir stressed, "I believe that the Other is not simply an idealist relationship, it is a materialist relationship" (Simons and Benjamin 1979, 345). To develop her analysis, Beauvoir drew upon another binary, "master" and "slave." However, she concentrated on how women, as a category, had been subordinated as men's "other."Twenty years ago, in 1979, Audre Lorde delivered her best-known speech, "The Master's Tools Will Never Dismantle the Master's House," at an international conference held in honor of the thirtieth anniversary of [End Page 259] Beauvoir's book. According to conference organizer Jessica Benjamin and reporter Lilly Rivlin, writing together in Ms. magazine, "[M]ore than 800 women from all over the world gathered at a conference on feminist theory, 'The Second Sex--Thirty Years Later,' sponsored by the New York Institute for the Humanities" (1980, 48). Like most of the conference participants, Lorde was a woman, a feminist, a socialist, a public intellectual, and an activist scholar. Lorde may have participated in the conference as a "consultant," a poet at a public reading, and a speaker at a plenary session 2 because her feminist philosophy is of resonance to Beauvoir's. Both women rejected biology as the basis for women's situation, believing instead that material conditions are most fundamental. Both commented upon the power of symbolism, especially myths about others, in perpetuating social inequalities and failing to differentiate categories for others. Both saw the relationship between "self" and "other" as a vital and creative tension.To understand this tension, Beauvoir drew explicitly on Hegel's ideas as they were treated in Sartre's oeuvre (Lloyd 1983). In contrast, Lorde may have drawn upon conceptions of double consciousness among black public intellectuals in the United States (Henderson 1989, 17-21). Unlike Beauvoir, Lorde was a lesbian, a mother, and a black woman for whom Beauvoir's analogies between the status of women and the status of "Negroes" were problematic. Confronting the conference participants on the last day, during the last panel entitled "The Personal and the Political," Lorde condemned the conference for its limited range of speakers, its substance, its very structure. Lorde examined the ramifications of failing to include others as equals. For in failing to do so, the conference had employed the same tools of oppression over others that the participants deplored in the politics of patriarchy. Lorde challenged the conference participants, who presumably understood that Beauvoir had represented woman as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 259-285 [Access article in PDF] The Personal, the Political, and Others: Audre Lorde Denouncing "The Second Sex Conference" 1 Lester C. Olsen Those of us who stand outside the circle of this society's definition of acceptable women; those of us who have been forged in the crucibles of difference--those of us who are poor, who are lesbians, who are Black, who are older--know that (...) survival is not an academic skill. It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those others identified as outside the structures in order to define and seek a world in which we can all flourish.--Audre Lorde, Sister Outsider 112Fifty years ago, in 1949, Simone de Beauvoir's book entitled The Second Sex was published in France. She did not consider herself a philosopher because, to her, a philosopher was "someone who has built a great system" (Simons and Benjamin 1979, 338). Her book, nonetheless, became a milestone in feminist philosophy, for it synthesizes elements of existentialism, phenomenology, and socialism in an account of women's situation in society. Central to this account is Beauvoir's concentration upon representations of "self" and "other." For example, Beauvoir affirmed, "The category of the Other is as primordial as consciousness itself. In most primitive societies, in the most ancient mythologies, one finds the expression of a duality--that of the Self and the Other. This duality was not originally attached to the division of the sexes; it was not dependent upon any empirical facts" (1993, xl). In an interview, Beauvoir stressed, "I believe that the Other is not simply an idealist relationship, it is a materialist relationship" (Simons and Benjamin 1979, 345). To develop her analysis, Beauvoir drew upon another binary, "master" and "slave." However, she concentrated on how women, as a category, had been subordinated as men's "other."Twenty years ago, in 1979, Audre Lorde delivered her best-known speech, "The Master's Tools Will Never Dismantle the Master's House," at an international conference held in honor of the thirtieth anniversary of [End Page 259] Beauvoir's book. According to conference organizer Jessica Benjamin and reporter Lilly Rivlin, writing together in Ms. magazine, "[M]ore than 800 women from all over the world gathered at a conference on feminist theory, 'The Second Sex--Thirty Years Later,' sponsored by the New York Institute for the Humanities" (1980, 48). Like most of the conference participants, Lorde was a woman, a feminist, a socialist, a public intellectual, and an activist scholar. Lorde may have participated in the conference as a "consultant," a poet at a public reading, and a speaker at a plenary session 2 because her feminist philosophy is of resonance to Beauvoir's. Both women rejected biology as the basis for women's situation, believing instead that material conditions are most fundamental. Both commented upon the power of symbolism, especially myths about others, in perpetuating social inequalities and failing to differentiate categories for others. Both saw the relationship between "self" and "other" as a vital and creative tension.To understand this tension, Beauvoir drew explicitly on Hegel's ideas as they were treated in Sartre's oeuvre (Lloyd 1983). In contrast, Lorde may have drawn upon conceptions of double consciousness among black public intellectuals in the United States (Henderson 1989, 17-21). Unlike Beauvoir, Lorde was a lesbian, a mother, and a black woman for whom Beauvoir's analogies between the status of women and the status of "Negroes" were problematic. Confronting the conference participants on the last day, during the last panel entitled "The Personal and the Political," Lorde condemned the conference for its limited range of speakers, its substance, its very structure. Lorde examined the ramifications of failing to include others as equals. For in failing to do so, the conference had employed the same tools of oppression over others that the participants deplored in the politics of patriarchy. Lorde challenged the conference participants, who presumably understood that Beauvoir had represented woman as... (shrink)

Among theorists associated with the first generation of the Frankfurt School, Herbert Marcuse’s position is singular in that he provides us with an unabashedly affirmative theory of politics as liberatory practice. The article discusses Marcuse’s contribution to political thought by pointing out how, in particular, three aspects remain highly pertinent to contemporary thought: (a) his account of freedom as potentiality, to be actualized in political practice; (b) his conception of the political pre-figuration or pre-enactment of a liberated society; and (c) (...) his rehabilitation of the human faculty of imagination that allows us to overcome the reality principle of the status quo by venturing, qua practice, into the realm of the revolutionary surreal, thereby enlarging the horizon of what is politically imaginable. In a final step Marcuse’s contribution is contrasted with contemporary theories of the political. (shrink)

This article aims to contribute to a (post)extractivist aesthetics at a time of ontological shifts, meaning an aesthetics that focuses on the role of art in struggles for (post)extractivist worlds. First, it argues for a contextualized approach to the use of the extractivism framework and proposes that this framework is particularly productive for approaching the socio-environmental crisis due to the way it allows us to engage with the ontological basis of this crisis. The article then builds on empirical research conducted (...) in Argentina to develop the concept of prefigurative ontological design, one of the key functions, it is proposed, of artistic practice in anti- and post-extractivist movements. In this way, the article aims to expand our understanding of the potential of extractivism as a framework of analysis and contributes to the theorization of the relationship between art and extractivism through the lens of political ontology, offering new concepts for developing a (post)extractivist aesthetics. (shrink)

Maria Lugones and other writers of post-colonial discourse emphasize hybrid over univocal identities. I argue that a significantly expanded version of Mikhail Bakhtin’s notion of “dialogized heteroglossia” reveals that the linguistic community and the “voives” at play in the latter constitute a form of dialogic hybridity. This view of the linguistic community offers an alternative to the notion of pure identities and the politics of exclusion that it has supported either overtly or tacitly. Moreover, a political principle - “the (...) interplay of equally audible voices” - can be derived from this view; it permits us simultaneously to affirmmulticulturalism and to deny racism, sexism, classism and other exclusionary discourses the right to become policy-making voices.Maria Lugones et d’autres théoriciens du discours post-colonial mettent l’accent sur les identités hybrides par opposition à univoques. Je soutiens qu’une version significativement plus large de la notion bakhtinienne d’“hétéroglossie dialogisée” fait ressortir que la communauté linguistique et les “voix” en jeu dans cette dernière constituent une forme d’hybridité dialogique. Cette conception de lacommunauté linguistique offre une alternative à la notion d’identité pure et à la politique d’exclusion qu’elle a défendue, ouvertement ou de façon tacite. De plus, un principe politique - “le jeu de voix audibles au même degré” - peut être tiré de cette conception, lequel permettrait à la fois d’affirmer le multiculturalisme et d’empêcher que le racisme, le sexisme, le classicisme et tout autre discours d’exclusion puissent devenir des voix qui déterminent fes pofitiques du jour. (shrink)

The article aims to base the presence of a reconceptualization of the political in Michel Foucault's thought, taking as the reading key ethhopolitics as a conceptual proposal. There, we can find a concept completely opposed to the way in which both modern governmentality and the tradition of political thought have understood the meaning of politics in the West. Following this purpose, the hypothesis is proposed and developed, according to which the analytical gesture that persists in Michel Foucault's thought is (...) a concept of the political that affirms life in its radical exuberance and unfoundedness. In this statement, we recognize the signatures of a triangular conceptual structure made up of the fold between life, ethics and power. After exposing the problem and clearing some methodological difficulties for its approach, we examine in detail the investigations that comprise the archeology of ethical life in the French philosopher. It is argued that the very textuality of ethhopolitics is formulated as politicity rather than as a specific policy, that is, it is presented as a politics of life, since it is implied as a singular modulation of existence. The article concludes with a scriptural threshold composed of five theses that attempt to expand and project the philosophical-political returns of the analysis developed towards a research program. (shrink)