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)

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.

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)

ABSTRACT The First British New Left formed around two journals, The New Reasoner edited by E.P.Thompson and John Saville, and the Universities and Left Review edited by Stuart Hall, Gabriel Pearson, Raphael Samuel and Charles Taylor. Both sought a ‘new’ socialism which, based on a loose concept of socialist humanism, restored the role of the individual and revitalised a popular left movement. Early commentators critiqued its lack of robust theory and organisational structure. More recently, others have proposed that, particularly (...) amongst the ULR cohort, with this ‘new’ socialism emerged a ‘new’ activist politics. Building on this, I examine the ULR’s activism as a performative politics which stressed active participation over theory and dissolved any distinction between means and ends. Whilst Thompson and Hall have tended to be considered the main protagonists in shaping this, I argue that it was Samuel, an experienced organiser, who was most responsible for shaping their early agenda. His role has been neglected because he wrote no ‘position piece’ but, appropriately for an activist politics, expressed his ideas through his actions. ‘Reading’ his performances, then, illuminates more fully both the scope and the limits of this activist politics. (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)

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)

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)

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)

Steve Fuller has replied to my critique of his endorsement of a post-truth epistemology. I trace the divergence in our approach to social epistemology by examining our distinct responses to the principle of symmetry in the sociology of scientific knowledge. Fuller has extended the concept of symmetry and challenged the field to embrace a post-truth condition that flattens the difference between experts and the public. By contrast, I have criticized the concept of symmetry for policing the field to (...) rule ideology critique out of court. I argue that a focus on post-truth populism obscures the role of counter-elites and ideologies that restrict political choice. A better way to promote democracy would be to support minority positions within science that promise to open up suppressed political possibilities and to seek the coordinated use of different disciplines to address significant public problems. (shrink)

As a rejection and continuous reframing of theoretical humanism, critical posthumanism questions and imagines the human condition in the current context, aligning it with nonhuman and more than human entities, past and future. While this philosophical approach has been referenced in many academic disciplines since the 1990s, it has been gradually garnering interest among nursing scholars, leading to questions such as what it means to be human and what it means to be a nurse in the here and now. As (...) a deeply ethical and political project, posthumanism, which we associate with poststructuralist concepts of power and resistance, questions the formation of posthuman subjects who more accurately reflect complex times, characterized by capitalistic commodification of life—human and nonhuman. In this article, we aim to explore how the ontological and epistemological underpinnings of critical posthumanism, specifically through Rosi Braidotti's works, can be useful to understand a posthuman subjectivity that favors affirmative actions aimed at actualizing our world in becoming. Through examples in nursing practice, education, and research, we will explore not only how critical posthumanism allows us to frame transformations in the current situation that we are embedded in as nurses and more generally as beings but also how these examples allow us to move beyond critique to the actualization of affirmative actions that correspond to the creation of new worlds. (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)

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)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist Resources for Womanist ReflectionMelanie L. HarrisA Buddhist understanding of unconditional love in dialogue with Christian social ethics addresses the utter disappointment in humanity when racism is exposed. This focus offers us yet another way into the dialogue of engaged Buddhism and Christian liberation theologies, and directly points to Buddhism as a resource for thinking about and healing from racism and other forms of oppression. My presentation today is (...) descriptive in nature, and as a Womanist scholar, I will lean toward the constructive—but I will leave room for our collective and communal discussion to help show us the signs of what a new vision of justice might look like as we learn to live together on planet Earth.womanist theology and the hard work of loveMuch of my work as a Womanist scholar and much of the field grounds itself inside of the nitty-gritty wrestling moments with Christian norms and concepts that disregard analysis that honors the complex subjectivities of women, including issues of race, class, gender, and sexual justice. Taking the call for social justice and the everyday lives and experiences of African and African American women seriously, Womanist theology and ethics are in fact forms of liberation theology. What makes Womanist perspectives unique is that they challenge Christian thought and all religious thinking to more fully engage the principles of love and justice. In the case of Christianity, Womanist scholars demand that those walking in the faith “practice what they preach” and respond to some of the following questions:• How are women of color treated in your religious tradition? Is gender equity normative in your tradition?• What is life-affirming in your religious tradition that honors the unique theological perspectives and voices of women of color?• How are women’s bodies honored, their sexualities spoken about, and their bodily choices and reproductive rights discussed?• How are women of color’s racial and ethnic identities and complex subjectivities honored by or embody the “touch of Jesus” or the “healing gaze of the Buddha” or the “prayers of Muhammad” or “the breath of Krishna”?• What are women of color’s unique perspectives on Earth justice? [End Page 107]• Finally, how are the stories of women of color whose bodies have been historically ravaged by rape and violence finding solidarity with stories of environmental degradation in which the sister/mother body of Earth suffers similar disembodiment and oppression?Looking into the hearts of Christian, Buddhist, and other religious perspectives and traditions Womanism offers a lens through which to examine understandings of God and the divine differently. It honors the perspectives of women of color, whose voices have been historically marginalized in normative religious thought and who have often experienced being dehumanized in society. In spite of this, many women who identify with the term “Womanist” have found faith, religious value, and restoration through an emphasis on divine embodiment, self-worth, and self-love.Over the course of the first and second waves of Womanism, scholars have raised important questions of how communal love points toward a moral imperative for Earth justice. However, more recently, third-wave Womanist activists and scholars are focusing on Earth justice and other social justice issues from a religiously pluralistic perspective. Third-wave Womanist scholars like myself have taken the term beyond the halls of Union “into the streets” as activists, have witnessed Womanist ideas transformed into political activism, and have experienced Womanist solidarity with women across various global contexts. Many of us are returning “home” to the conversation wiser and are more courageous than ever before and expanding the discourse by engaging religious pluralism, interfaith dialogue, and interreligious realities in hopes of finding new ways to confront multilayered oppressions.1buddhist resources for womanist reflectionIn 2009, Charles Hallisey of Harvard Divinity School and I received a grant from the Center for the Study of World Religions at Harvard to do something imaginative and creative. We invited several renowned Womanist and Buddhist scholars to Harvard to read Buddhist texts together in community and discuss whether there was anything inherent in both traditions that would expand Buddhist studies and broaden inter-religious dialogue in Womanist thought.There were some theoretical challenges and... (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Writing around the time of the French Revolution, Condorcet was a very early advocate of women’s suffrage. To fully appreciate the importance and originality of his contribution to the cause of women’s political rights, it is necessary to situate his ideas within the broad context of revolutionary feminist activism in general, its goals, modes of expression, successes or failures, as well as the nature of the opposition it faced. Such contextualization confirms that Condorcet, whose affirmation of women’s voting rights (...) was grounded in the theory of natural rights, was the most articulate and consistent feminist voice during the Revolution. My analysis of the Convention’s decision to ban all women’s political clubs in the fall of 1793 also calls into question a common and influential assessment of the Revolution. In contrast to the anti-feminist arguments of the Montagnards who wielded power at the time, arguments predicated on a restrictive understanding of natural law, Condorcet’s earlier feminist reasoning based on natural rights, one of the central political concepts of the Enlightenment, casts doubt on the claim that the Revolution was inherently misogynist and that the bourgeois public sphere to which it gave rise was founded on the exclusion of women. (shrink)

_The Invisible Dragon_ made a lot of noise for a little book When it was originally published in 1993 it was championed by artists for its forceful call for a reconsideration of beauty—and savaged by more theoretically oriented critics who dismissed the very concept of beauty as naive, igniting a debate that has shown no sign of flagging. With this revised and expanded edition, Hickey is back to fan the flames. More manifesto than polite discussion, more call to (...) action than criticism, _The Invisible Dragon_ aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty. Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of _The Invisible Dragon_ will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism. (shrink)

This article discusses consumer activism not as an ethical, but as a political phenomenon. A political concept of consumer activism implies, first, that consumers sometimes express support or opposition to products and services or consumer and business practices at least partly in order to advance nonmarket agendas, and, second, that consumer activism in the economic sphere occasionally has palpable impact on the organization of social life. Early contributors to the debate were optimistic that political consumer activism might be able (...) to extend democracy into the economic sphere. In recent years, however, scholars have increasingly voiced misgivings about this, arguing that political consumer activism may suffer from a democratic deficit: it may amount to an impermissible form of vigilantism or facilitate the illegitimate conversion of market power into political power. This article systematizes and reassesses these concerns, focusing in particular on arguments that dispute the compatibility of political consumer activism with liberal democracy as a procedural ideal. I conclude that political consumer activism does not face problems to do with legitimacy in this regard, most importantly because money does not play a more important role in market-based politics than in official democratic processes. Political consumer activism takes many forms, yet it is hardly ever about voting with the pocketbook. (shrink)

This book examines the complexities of the hipster through the lens of art history and cultural theory, from Charles Baudelaire's flan̂eur to the contemporary 'creative' borne from creative industries policies. It claims that the recent ubiquity of hipster culture has led many artists to confront their own significance, responding to the mass artification of contemporary life by de-emphasising the formal and textual deconstructions so central to the legacies of modern and postmodern art. In the era of creative digital technologies, long (...) held characteristics of art such as individual expression, innovation, and alternative lifestyle are now features of a flooded and fast-paced global marketplace. Against the idea that artists, like hipsters, are the 'foot soldiers of capitalism', the institutionalized networks that make up the contemporary art world are working to portray a view of art that is less a discerning exercise in innovative form-making than a social platform--a forum for populist aesthetic pleasures or socio-political causes. It is in this sense that the concept of the hipster is caught up in age-old debates about the relation between ethics and aesthetics, examined here in terms of the dynamics of global contemporary art."--Publisher's website. (shrink)

Many of our most urgent contemporary issues-demagoguery, disinformation, white ethno-nationalism-compel us to take opinions seriously. And social media has taught us that everyone is entitled to their own opinion. But what constitutes an opinion, and how do those definitions change? In "Entitled Opinions: Doxa After Digitality," Caddie Alford has fashioned an expansive and affirmative theory of opinions for the age of social media. To address these issues, "Entitled Opinions" recuperates the ancient Greek term for opinion: doxa. While doxa is often (...) translated as "opinion" or "belief," the term originally harbored many other connotations, such as fame, reputation, and expectations. These shadings complicate simplistic notions of what opinions are and what they can do. Just as digitality has transformed what constitutes "truth," so too has social media transformed the very notion of opinions. In the context of social media, opinions are now seen as ill-informed preferences that divide people from one another. "Doxa" and its interpretive contexts help shed some of the baggage associated with opinions while signaling more useful lines of inquiry. Repurposing "doxa" recovers the nuance and rhetorical utility of opinions while attempting to make sense of how opinions are trafficked in social media. Commonplace imperatives such as "he tells it like it is" or newer, digital imperatives such as #BlackLivesMatter may seem straightforward on the surface, but haptics, emoji, and "like" buttons betray and lay bare collective assumptions about how opinions in the digital realm function. "Entitled Opinions" argues that because doxa are the virtual tickets to participation in online culture and politics more broadly, social media and opinion have become synonymous. Thus, it is all the more crucial that we scrutinize the interfaces, platforms, coding, syntax, and network architecture that determine how persuasion operates, how reputations sway, and what moments are deemed Instaworthy or worth remembering. In a world that says, "don't read the comments," this book reads the comments, so to speak, taking content that could be thrown away for any number of reasons and alchemizing judgments into implications. Each chapter in the book draws together key rhetorical concepts, current scholarship on opinions, and digital media entanglements. The first chapter lays out one of the book's more critical takeaways: while "opinion" gets reflexively figured in an opinion/fact binary, social media has shown that it is imperative to think and operate in terms of a spectrum of opinions, from reputable to less reputable. These gradations are multifaceted and susceptible to interventions-in the past, those interventions were experts; today, those interventions are algorithms. Each subsequent chapter illuminates opinions in terms of humanistic inquiries that speak to a diverse range of audiences: sociality; infrastructure; bodies; time; and, finally, invention. These chapters put opinions into conversation with algorithms, infrastructure, the rise of digital illiteracy, virality, and digital activism to highlight the digital constraints placed on opinions as well as the creative and evasive ways opinions exceed those constraints. Social media tricks us into thinking opinions are straightforward, isolating, and universal. "Entitled Opinions," however, suggests ways for social media users recuperate and reclaim the place of opinions in the digital sphere. (shrink)

In this essay, I argue that contemporary democratic theory gives insufficient attention to the important contributions dissenting citizens make to democratic life. Guided by the dissident practices of activist women, I develop a more expansive conception of citizenship that recognizes dissent and an ethic of political courage as vital elements of democratic participation. I illustrate how this perspective on citizenship recasts and reclaims women's courageous dissidence by reconsidering the well-known story of Rosa Parks.

The pandemic has been the most vivid agent of change that many of us have known. But it has not changed everything: plenty of the institutions, norms, and practices that sustain racial capitalism, settler colonialism, and cisheteropatriarchy have either weathered the storm of the crisis or been nourished by its effects. And yet enough has changed for us to see that the pandemic has profoundly recontextualised those structures and systems of violence, bringing us into a fresh negotiation with, for example, (...) the question of how we discuss and imagine freedom. Responding in part to this unexpected provocation, activist-scholars Robyn Maynard and Leanne Betasamosake Simpson forged a collaboration from the lockdown of 2020, corresponding by letter to create their forthcoming book, Rehearsals for Living, due to be published by Haymarket Books (US) and Knopf (Canada) in 2022. In this interview, we asked them to explain the epistolary form of the book and expand on the concept of “rehearsal”, before inviting them to reflect on a series of issues that animate our current crises: the politics of recognition; the notion of apocalypse; ways to disrupt linear temporalities; practises of reciprocity against proprietary logics; the gendered violence of state apparatuses; and worldbuilding as a method of resistance. In their expansive answers, Robyn and Leanne draw on their experiences as organisers and educators, commenting on anticolonial struggles, the Movement for Black Lives, and the rise of abolition discourse. Stressing the need to build a multiplicity of shared homespaces in the face of racial/colonial capitalism and organized abandonment, they challenge us to rethink the predicaments and possibilities of the present, enabling us to imagine futures liberated of extractivist, carceral governance – “planting more liberatory futures in the present”, as Robyn puts it. The task of sowing those seeds is a collective praxis of rewriting the narratives that constitute us, refusing to hear that nothing can change and insisting that everything must. (shrink)

This article explores what it can mean to navigate notions of productive idiocy with aspects of mātauranga Māori (Māori knowledge), through some recent art-as-activism practices of the author, Aotearoa/New Zealand artist Mark Harvey. The works explicated include Waitākere Drag and Auau in the Te Wao Nui ā Tiriwa forest ranges and Productive Promises, which was part of TEZA (Trans Economic Zone of Aotearoa) in Ōtautahi/Christchurch. Avital Ronell’s Nietzschean-influenced perspectives on idiocy are drawn from in relation to Western and Māori perspectives, (...) along with Roger Sansi’s work on idiocy as dissent. From this aggregation of epistemologies, it is proposed that idiocy can be productive through art as activism and that this can align with Indigenous Māori perspectives on playing the fool as a form of resistance and refusal. Examples of Māori concepts engaged with here include perspectives on relationship building, human relationships with forests and the environment, and sovereignty under Te Tiriti o Waitangi (The Treaty of Waitangi). These art-activism projects promised micro-attempts at making positive changes for the communities in which they were situated through performatively generated actions from a Māori perspective within the shroud of ongoing colonization and capitalism. (shrink)

_In this lively and groundbreaking book, arts educator Marit Dewhurst examines why art is an effective way to engage students in thinking about the role they might play in addressing social injustice._ Based on interviews and observations of sixteen high schoolers participating in an activist arts class at a New York City museum, Dewhurst identifies three learning processes common to the act of creating art that have an impact on social justice: connecting, questioning, and translating. Noting that “one of the (...) challenges of social justice art education has been the difficulty of naming effective strategies that can be used across multiple contexts,” Dewhurst outlines core strategies for an “activist arts pedagogy” and offers concrete suggestions for educators seeking to incorporate activist art projects inside or outside formal school settings. _Social Justice Art _seeks to give common language to educators and others who are looking to expand and refine their practices in an emerging field, whether they work in art education, social justice programming, or youth development. (shrink)

What are our responsibilities in the face of injustice? How far should we go to fight it? Many would argue that as long as a state is nearly just, citizens have a moral duty to obey the law. Proponents of civil disobedience generally hold that, given this moral duty, a person needs a solid justification to break the law. But activists from Henry David Thoreau and Mohandas Gandhi to the Movement for Black Lives have long recognized that there are times (...) when, rather than having a duty to obey the law, we have a duty to disobey it. -/- Taking seriously the history of this activism, A Duty to Resist wrestles with the problem of political obligation in real world societies that harbor injustice. Candice Delmas argues that the duty of justice, the principle of fairness, the Samaritan duty, and political association impose responsibility to resist under conditions of injustice. We must expand political obligation to include a duty to resist unjust laws and social conditions even in legitimate states. -/- For Delmas, this duty to resist demands principled disobedience, and such disobedience need not always be civil. At times, covert, violent, evasive, or offensive acts of lawbreaking can be justified, even required. Delmas defends the viability and necessity of illegal assistance to undocumented migrants, leaks of classified information, distributed denial-of-service (DDoS) attacks, sabotage, armed self-defense, guerrilla art, and other modes of resistance. There are limits: principle alone does not justify law breaking. But uncivil disobedience can sometimes be not only permissible but required in the effort to resist injustice. (shrink)

Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.

By the late 1920s in Europe new art directions were regarded as already completed phenomena, a part of “avant-garde tradition.” Such views were expressed by Jean Arp and El Lissitzky’s in their book Kuntismen, and by Amédée Ozenfant’s in Art. Bilan des arts modernes en France. Similar opinions were also voiced by Jan Brzękowski, a Polish poet and critic, who regarded this time as a period of “establishing certain values” rather than new breakthroughs. In this article I discuss Brzękowski’s strategies (...) as a spokesman of modern art, an intermediary between the Parisian artworld and Polish avant-garde, an author connected with constructivism, and also with surrealist circles in Paris. My main focus is his magazine “Sztuka Współczesna – L’Art Contemporain” and his series of articles “Mileages,” in which he summarizes the developments of modern art. Conscious of the “wearing up” of avant-garde ideas and critical about seeking “novelty” for its own sake, Brzękowski tried to establish a progressive position based on the idea of formal discipline and creative construction. While rejecting a mimetic conception of art, he argued for abstract artistic form that would be “anchored to the bottom of life,” thus emphasizing the interplay of abstract and figurative elements and their dialectic. (shrink)

In this paper, we reflect on current notions of engineering practice by examining some of the motives for engineered solutions to the problem of climate change. We draw on fields such as science and technology studies, the philosophy of technology, and environmental ethics to highlight how dominant notions of apoliticism and ahistoricity are ingrained in contemporary engineering practice. We argue that a solely technological response to climate change does not question the social, political, and cultural tenet of infinite material growth, (...) one of the root causes of climate change. In response to the contemporary engineering practice, we define an activist engineer as someone who not only can provide specific engineered solutions, but who also steps back from their work and tackles the question, What is the real problem and does this problem “require” an engineering intervention? Solving complex problems like climate change requires radical cultural change, and a significant obstacle is educating engineers about how to conceive of and create “authentic alternatives,” that is, solutions that differ from the paradigm of “technologically improving” our way out of problems. As a means to realize radically new solutions, we investigate how engineers might deploy the concept of praxis, which raises awareness in engineers of the inherent politics of technological design. Praxis empowers engineers with a more comprehensive understanding of problems, and thus transforms technologies, when appropriate, into more socially just and ecologically sensitive interventions. Most importantly, praxis also raises a radical alternative rarely considered—not “engineering a solution.” Activist engineering offers a contrasting method to contemporary engineering practice and leads toward social justice and ecological protection through problem solving by asking not, How will we technologize our way out of the problems we face? but instead, What really needs to be done? (shrink)

Masks, balaclavas, eye masks, and various accessories have been consistently used to hide the face, from Greek times through the grotesque of the Middle Ages to the Latin American theatre festivals of the 1980s. In the twenty-first century, technological advances such as facial recognition, which are being used for the biopolitical control of the face, caused activists to start developing different mechanisms to cover their faces in public spaces. In other words, the mask is not used solely as a device (...) that builds unique aesthetic-political senses but is also used to avoid being captured by surveillance cameras. The aim of this paper is to identify some of the masks used by activists in Latin American public protests, generating new signs that circulate widely in the semiosphere such as physiognomy, representation, and evocation. For this, we will return to Juri Lotman’s proposal on the semiosphere and the notion of facesphere developed by José Finol, concepts that operate as epistemological and heuristic frameworks that allow understanding the concrete meaning production processes as a global dimension and not only a particular one. What faces are hidden and what physiognomies are shown in the social protest? What borders are established? What political and aesthetic meanings do they build? These are the questions that this paper attempts to answer from a perspective of cultural semiotics. (shrink)

This paper explores a form of activism that operates with and within matter. For more than 150 years materialism has informed activist practice through materialist conceptions of history and modes of production. The paper discusses the ambivalences of these previous configurations of activism and materialism and explores possibilities for enacting activist interventions in conditions where politics is not only performed as a politics of history but as the fundamental capacity to remake and transform processes of matter and life. What is (...) activism when politics is increasingly performed as a politics of matter? What is activism when it comes to a materialist understanding of matter itself? (shrink)

Posthuman affirmative ethics relies upon a fluid, nomadic conception of the ethical subject who develops affective, material and immaterial connections to multiple others. Our purpose in this paper is to consider what posthuman affirmative business ethics would look like, and to reflect on the shift in thinking and practice this would involve. The need for a revised understanding of human–animal relations in business ethics is amplified by crises such as climate change and pandemics that are related to ecologically destructive business (...) practices such as factory farming. In this analysis, we use feminist speculative fiction as a resource for reimagination and posthuman ethical thinking. By focusing on three ethical movements experienced by a central character named Toby in Margaret Atwood’s MaddAddam trilogy, we show how she is continually becoming through affective, embodied encounters with human and nonhuman others. In the discussion, we consider the vulnerability that arises from openness to affect which engenders heightened response-ability to and with, rather than for, multiple others. This expanded concept of subjectivity enables a more relational understanding of equality that is urgently needed in order to respond affirmatively to posthuman futures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioethics and Natural Law: The Relationship in Catholic TeachingJ. Bryan Hehir (bio)In the discipline of Catholic moral theology, bioethics (traditionally described as medical ethics) has held a major place. The systematic development of bioethics has drawn principally upon a natural law ethic, supported by broader religious arguments. The purpose of this essay is to examine the status and role of natural law in Catholic teaching as it bears upon (...) bioethics.Natural Law and Catholic TheologyThe role of natural law in Catholic theology is rooted in a prior conviction about the complementary relationship of faith and reason. The conviction finds initial expression in patristic authors, then preeminently in Thomas Aquinas and consistently in modern papal teaching of the twentieth century. Flowing from this conviction, as a premise of Catholic theology and teaching, is the [End Page 333] notion that a second source of moral wisdom exists along side the revealed wisdom of the Hebrew and Christian scriptures. This second source of wisdom is the product of rational reflection upon human nature and experience. In the tradition of natural law ethics (expressed in a plurality of versions), such reflection affirms an objective moral order, accessible to reason and based upon a conception of the person as both spiritual and social. The spiritual nature, expressed in the capacity for reflection and free choice, is the foundation of the natural law ethic, providing the human person a unique status in the created order. The social nature of the person locates each human being in a framework of social relationships, articulated in a complex of rights and duties and finding expression in three basic communities: the family, civil society, and the human community.The fully developed framework of a natural law ethic has five dimensions. It yields a theory of society, a doctrine of the state, a charter of duties and rights, a jurisprudence, and an applied ethic. At each level of this framework, the natural law ethic is contested by other contemporary philosophical positions. In this article, space demands that stress must be placed on the natural law affirmations without trying to engage the critics.The centrality of the social nature of the person yields a theory of society that is organic in character, laying strong emphasis on the social fabric of existence. Hence the theory has traditionally emphasized both order and justice more strongly than claims of freedom. The doctrine of the state, in contemporary natural law arguments, supports a limited yet activist state, limited by constitutional restraints and human rights claims, yet activist in its conception of a broad range of social obligations, particularly to the poor. The charter of rights affirms a range of both political-civil and socio-economic rights; the traditional natural law emphasis on a structure of duties has been complemented in the twentieth century by its stress on the role of human rights. The jurisprudential theory of natural law has been its most prominent aspect; it affirms a moral grounding for civil law, but distinguishes precisely between the comprehensive nature of moral law and the more limited scope of civil law, restricted to the maintenance of public order in society. Finally, the natural law framework finds expression in Catholic teaching in three areas of applied ethics: social ethics (civil society and international relations), sexual ethics, and bioethics.History and StatusWhile a natural law ethic has been a staple of Catholic social and bioethical teaching, it has not held similar status in the wider arena of contemporary philosophical or theological ethics. Through the 1950s, therefore, one could find a strong consensus supporting natural law within the Catholic community and ongoing debates within the wider world of philosophy and bioethics. Since the 1960s, any description of the status and role of natural law must consider the debates within Roman Catholicism itself about the role and status of natural law. [End Page 334]It is possible to distinguish two stages of these internal arguments in the church. In the period from 1960 to 1990, three events in Catholicism directly influenced the standing of a natural law position: John XXIII’s encyclical Pacem In Terris (1963), Paul XI’s encyclical Humanae Vitae (1968), and the teaching of... (shrink)

Over the last century, performance art has troubled the worlds of art and of philosophical aesthetics, unleashing modes of creativity and criticality that spill outside the customary boundaries of either. One of these modes is that of political activism. Performance art is genetically related to activism due to the shared historical contexts their respective waves have emerged from and responded to. In my article, I make the claim that the relationship between performance art and activism also has much to do (...) with certain significant structural and methodological overlaps between the two. I explore these overlaps against the backdrop of extant philosophical scholarship on performativity, a selection of art historical examples, and a critique of the charge of “performative activism” that has become popular in the last decade. I see the tension between the figurative meaning of the phrase “performative activism” and its literal application to politically charged performance art as a space of philosophical opportunity. A better understanding of performance art and its political import can not only help clear up laypeople’s misconceptions of performativity, but it can also strengthen philosophy’s own position on the subject. (shrink)

Much art is committed to political causes. However, does art contribute something unique to political discourse, or does it merely reflect the insights of political science and political philosophy? Here I argue for indispensability of art to political discourse by building on the debate about artistic cognitivism, the view that art is a source of knowledge. Different artforms, I suggest, make available specific epistemic resources, which allow audiences to overcome epistemic obstacles that obtain in a given ideological situation. My goal (...) is to offer a general model for identifying cognitive advantages for artworks belonging to distinct artforms and genres, in a way that can account for each artwork’s historical and cultural specificity. More speculatively, however, my account also comments on the ancient struggle between philosophy and the arts as competing modes of persuasion, and expands our notion of legitimate political discourse to include a greater plurality of discursive genres. (shrink)

The opening chapter familiarises students with the aims and methods of political philosophy. It explains the tools required to practice the discipline, and discusses how to apply these to political arguments. Each of the fifteen subsequent chapters focuses on a distinct area of public policy, such as affirmative action, humanitarian intervention, immigration, and parental leave. The authors introduce students to the moral questions that lie at the heart of these political disputes, as well as to some of the relevant academic (...) literature. The authors believe that the best way to learn about political philosophy is to see it in action. By arguing for a position in each chapter and defending it against criticisms, they demonstrate to students how political philosophy can inform our analysis of public policy. Introducing Political Philosophy is available for students and institutions to purchase in a variety of formats, and is supported by online resources. The e-book offers a mobile experience and convenient access along with hyperlinks a list of web-links, and self-test questions, helping to test your knowledge and understanding of policy areas, and the philosophical arguments that influence them: www.oxfordtextbooks.co.uk/ebooks. · Student resources: a curated list of websites help you to deepen your knowledge of policy areas, and self-test questions help you to critically evaluate key points from each chapter. · Lecturer resources include: seminar activities to encourage student engagement, discussion and debate; guidance on using the teaching activities; a teaching guide explaining how to get the most out of the book's inside-out approach; and customisable PowerPoint slides on key topics, thinkers, and concepts to aid effective teaching preparation. (shrink)

Excerpt from Activism It is not without hesitation that the present essay is submitted to the public. It would seem, however, at this time especially, when all of us are groping for whatever stray gleams of light may come our way, that a possibly fresh point of view may not be entirely supererogatory. For in the midst of the cataclysmic changes taking place on every side many of us find ourselves forced to a new searching of the spirit. The older (...) creeds and philosophies are crumbling or becoming metamorphosed. And in the intellectual world, no less than in the sphere of politics and industry, we are everywhere faced with the necessity of a revaluation of values. In philosophy a newer Idealism, Realism, and Pragmatism, as well as such iconoclastic doctrines as Behaviorism in psychology, and the Relational theory in physics, have swept many of the long received dogmas into a historic past; while many old questions have been answered with surprising solutions, and many strange and hitherto unsuspected problems have been discovered to confront us. To meet some of these newer conditions - to envisage some of these many problems from a possibly fresh angle - is the endeavor of the hypothesis here briefly outlined. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface This issue invites us to consider examples of feminist cultural production that use music, graphic art, and film to resist sexual conventions. Andrea Wood turns our attention to lesbian sex and romance in comics, a genre that has long captivated lay readers and is gaining popularity in academic circles. Rachel Lumsden analyzes Ethel Smyth’s 1913 musical composition “Possession,” an ode to same-sex intimacy displaying a “sonic meld” of (...) passion, desire, and political commitment. Sharmila Lodhia’s account of Nina Paley’s film Sita Sings the Blues considers how a sexually charged anitmated representation of a traditional epic can spur battles over cultural authenticity. Ariane Cruz examines how sexual pleasure presses against racist histories in a study on black women and BDSM. Whether sexuality is policed, as Chloë Taylor explores in her article, or the policing of sexuality is shunned, as Lynn Comella addresses in her review essay, it is clear that the grip of sexual politics on women ’s sexual lives is strong. Wang Zheng’s News and Views piece recounts recent global feminist tactics used to release five young feminists jailed in China, an urgent reminder about how women’s bodies are policed in violent ways. We begin this issue with Chloë Taylor’s essay reflecting on how sexology and psychiatry function to represent female desire in narrow ways. Taylor explores how female sexual dysfunction is constructed in sexology and psychiatric practice and locates this as part of a longer history of rendering selected bodies and sexual practices as deviant. Her analysis is a valuable rejoinder to the ever-expanding grip of psychiatry on the ordering—and disordering—of women’s bodies and sexuality. The line between normal and abnormal is always shifting, but its constant is how it maneuvers and is maneuvered to control female sexual desire. Taylor’s argument moves toward a non-normalizing feminist sexology that can interrogate sexual practice and function without rendering any as “right” or “wrong.” 256Preface Andrea Wood also turns to female sexuality, specifically lesbian sex, love, and romance, in her article on comics as a literary genre. Lesbian romance comics, Wood argues, offer a different discursive lens for “making the invisible visible.” Using queer theory to interrogate romantic depictions of lesbian sex and sexuality, she explores how the visual narrative form of comics allows for a different and politically compelling depiction of lesbian identity and sexual activity. Although lesbian romance and same-sex desire has been an interest of many feminist scholars, few have examined the visual field of lesbian comics—a genre, Wood insists, that demonstrates resistance to what Adrienne Rich identified as “compulsory heterosexuality.” Rachel Lumsden draws our attention to composer Ethel Smyth’s understudied song “Possession.” The song is a rumination on what it means to possess something or someone, and what it means to be possessed ; it is also a song that Smyth dedicated to Emmeline Pankhurst, her political comrade as well as her close friend and muse. Lumsden reads the song as a creative, strategically ambiguous “ode to an intimate female relationship,” a tribute to the respect, affection, and tenderness that Pankhurst and Smyth shared. Rather than reveal the “truth” of Smyth’s relationship with Pankhurst, Lumsden instead invites readers to consider the “sonic meld” of “Possession” as a space through which “themes of desire, activism, eroticism, solidarity, and sacrifice coalesce and congeal ” and as a site through which Smyth narrated her experiences, passions, desires, and political commitments. Sharmila Lodhia engages the controversy surrounding Nina Paley’s re-telling of the Ramayana in her film Sita Sings the Blues, which some critics have deemed “offensive,” “insulting,” and a “desecration of the Ramayana and the Hindu faith.” Lodhia treats Paley’s film—which positions Sita rather than Ram as the story’s protagonist, deploys animation and myriad narrator perspectives, fuses Paley’s own story with Sita’s story, and sets the story to a 1920s blues soundtrack—as a productive “body of critique about the epic’s central teachings on virtue, righteousness, and idealized gender roles.” By situating Paley’s retelling of the Ramayana in the context of numerous and varied Ramayana retellings, Lodhia reveals that Sita Sings the Blues is a “creative... (shrink)

Judicial activism is in serious, though undeserved, trouble. The current impasse over its role in constitutional discourse pits two opposed positions committed to different paradigms of judicial activism against one another. One side condemns activist judges for engaging in ultra vires adjudication by reading their idiosyncratic values into the Constitution. In this view, the charge of judicial activism has significant content and should be deployed to restrain renegade judges. The other side insists that calling someone a "judicial activist" has only (...) emotive content and is used merely as an empty epithet denouncing judges with whom one disagrees. This Article redirects the controversy over judicial activism by distinguishing between two different, but interrelated, levels of constitutional discourse: the surface level and the deep level. The problem of judicial activism exists on the surface level of constitutional discourse and will remain irresolvable on that level. However, once we attend to the deep level of constitutional discourse, the role of judicial activism becomes clear. The presence of judicial activism on the surface structure of constitutional discourse reveals on the deep structure reasonable disagreement over the meaning of key constitutional provisions. The idea of "reasonable disagreement" is profitably explicated by combining what social theorist W.B. Gallie called "essentially contested concepts" with the political philosopher John Rawls' important categorization of "the burdens of judgment." These obstacles to rational consensus are endemic to a republican democracy. Consequently, reasonable disagreement over key constitutional provisions should not be regarded negatively; it is an inevitable and positive feature of any society championing liberty, equality, and pluralism. However, the inevitability and desirability of reasonable disagreement has institutional consequences for constitutional review. When reasonable disagreement is inevitable, legislatures, not courts should have the last word on constitutional meaning. (shrink)

John Dewey’s role as a “public philosopher” is well-documented; his political activism, however, has not received much attention from philosophers. While Dewey is well remembered as a philosopher who escaped the walls of the academy to speak to and write for general audiences, he also lent his name, status, and intellectual energy to political organizations and movements in American politics. In the first part of the paper, I provide an introduction to Dewey’s activism and its relation to the philosophical project (...) of “democratization.” I consider present-day parallels between Dewey’s diagnosis of America’s political problems and the Bernie Sanders presidential campaign, as well as the structural and methodological challenges facing a Deweyan progressive politics. I conclude by advocating for a new conception of “public pragmatism” that reflects lessons learned and contemporary conditions for political activism by philosophers seeking to follow in Dewey’s footsteps. (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)

‘IB was one of the great affirmers of our time.’ John Banville, New York Review of Books The title of this final volume of Isaiah Berlin’s letters is echoed by John Banville’s verdict in his review of its predecessor, Building: Letters 1960–75, which saw Berlin publish some of his most important work, and create, in Oxford’s Wolfson College, an institutional and architectural legacy. In the period covered by this new volume (1975–97) he consolidates his intellectual legacy with a series of (...) essay collections. These generate many requests for clarification from his readers, and stimulate him to reaffirm and sometimes refine his ideas, throwing substantive new light on his thought as he grapples with human issues of enduring importance. Berlin’s comments on world affairs, especially the continuing conflict between Israel and the Palestinians, and the collapse of Communism, are characteristically acute. This is also the era of the Northern Ireland Troubles, the Iranian revolution, the rise of Solidarity in Poland, the Chernobyl nuclear disaster, the fall of the Berlin Wall, Ayatollah Khomeini’s fatwa against Salman Rushdie, the spread of Islamic fundamentalism, and wars in the Falkland Islands, the Persian Gulf and the Balkans. Berlin scrutinises the leading politicians of the day, including Reagan, Thatcher and Gorbachev, and draws illuminating sketches of public figures, notably contrasting the personas of Alexander Solzhenitsyn and Andrey Sakharov. He declines a peerage, is awarded the Agnelli Prize for ethics, campaigns against philistine architecture in London and Jerusalem, helps run the National Gallery and Covent Garden, and talks at length to his biographer. He reflects on the ideas for which he is famous – especially liberty and pluralism – and there is a generous leavening of the conversational brilliance for which he is also renowned, as he corresponds with friends about politics, the academic world, music and musicians, art and artists, and writers and their work, always displaying a Shakespearean fascination with the variety of humankind. Affirming is the crowning achievement both of Berlin’s epistolary life and of the widely acclaimed edition of his letters whose first volume appeared in 2004. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editors' IntroductionAlan D. Schrift and Shannon SullivanThe articles in this special issue of the Journal of Speculative Philosophy were selected from revised versions of papers that were originally presented at the sixtieth annual meeting of the Society for Phenomenology and Existential Philosophy (SPEP) at Texas A&M University in College Station, Texas October 13–15, 2022.Michael Hardt of Duke University and Patricia Pisters of the University of Amsterdam gave the SPEP (...) 2022 Plenary Addresses, and we are grateful to be able to include their plenary papers in this special issue. Hardt's paper, "The Politics of Articulation and Strategic Multiplicities," treated SPEP members to an early peek at his newest book, The Subversive 70s (Oxford University Press, 2023). In this work, Hardt digs into the powerful resources for social movements that activists and theorists from the 1970s developed. As he argues, in many ways those activists and thinkers were ahead of their times—and also ahead of ours—in understanding how to analyze interwoven multiplicities of power and how to articulate and organize liberation struggles based on those multiplicities. Hardt brilliantly demonstrates how analyzing the progressive and revolutionary social [End Page 237] movements of the '70s can help us not only understand the roots of contemporary social and political struggles but also reclaim critical resources for those struggles.Patricia Pisters's paper, "Thinking with Fire: Elemental Philosophy and Media Technology," draws upon Gaston Bachelard's "fire complexes" to address a variety of pyrotechnical images appearing in contemporary cinema. Noting that elemental philosophy is on the rise in media studies and elsewhere, not least because of current environmental crises, fire is particularly engaging for its metaphorical, "matterphorical," and technological associations. While acknowledging fire as a material medium—cooking, heating, burning, etc.—Pisters's primary focus in her paper is on fire as an immaterial medium, and it is here that she turns to Bachelard's constellation of fire complexes—the Empedocles, Prometheus, and Novalis Complexes—to which she adds her own fourth complex, the Sita Complex. With these complexes, she provides readings of four cinematic productions that elucidate the annihilating, transgressive, sexual, and purifying qualities of fire, and she suggests that these entangled fire complexes present different kinds of combustive knowledge in which the element of fire manifests itself as material phenomenon of nature, the engine for modern life, and immaterial affective reverie of destruction, transgression, and sexuality.The other articles in this special issue have been organized according to five broad groupings. The first grouping, "On Latin American Philosophy," brings together three papers that engage Latin American philosophy, particularly as found in Mexican, Columbian, and Venezuelan history and political movements. In "Radicalizing Localization: Notes on Santiago Castro-Gómez's Genealogies of Coloniality," Julian Rios Acuña argues that Columbian philosopher Santiago Castro-Gómez develops a radical method of localization. This method allows Castro-Gómez to transform Foucauldian genealogy into genealogies of coloniality that grapple with the complexities of extreme violence produced by colonialism. In "Stefan Gandler's Renewal of Critical Theory from Latin America," Jake M. Bartholomew argues for a version of Critical Theory that is not bound by Europe but also remains true to its first-generation Marxist roots. Relocating to Mexico and advocating for Mexican philosophers, German-born philosopher Stefan Gandler shows how Latin American philosophy can enrich Critical Theory, providing more than can the second and third generations of Critical Theory because of its ability to analyze capitalism from outside the economic perspectives of the Global North. In "Two Versions of the Mestizo [End Page 238] Model: Toward a Theory of Anti-Blackness in Latin American Thought," Miguel Gualdron Ramirez criticizes the anti-Blackness that he sees at the heart of mestizo models of latinidad, or lo latinoamericano. Focusing on the concepts of liberation offered by Venezuelan theorist and politician Simón Bolívar and Mexican philosopher José de Vasconcelos, Ramirez reveals the exclusion and erasure of Black bodies, lives, and histories that ground their versions of Latinx identity and Latin American history. Together these three articles showcase how Latin American philosophy can enrich and expand the scope of Continental philosophy.The second grouping, "Liberatory Limits and Misalignments," features three articles... (shrink)

This article examines the diversity of tactical interventions that transpired at the Whitney Museum of American Art in 2019, culminating in the resignation of the vice-chairman of its Board of Trustees. Instead of accepting the myth of museum neutrality, the activist campaign, spearheaded by the action-oriented movement Decolonize This Place, treated the Whitney as a site of ideological struggle, permeated by inner divisions and conflicting interests. Through their organizing efforts, activists prefigured a movement-based form of cultural production, mapped connections between (...) seemingly disparate struggles, and built decolonial solidarities. While the activists’ actions were essential to stage the antagonisms that had been dormant in the institution, a multiplicity of actors needed to step in during the process, creating multiple pressure points and taking sides in the division. To amplify the Whitney staffers’ attempt to hold the museum leadership accountable, they sought to bring political protest into the institution, challenging the very principle of counting who belongs to the community and who is excluded. (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)

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such (...) as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck, Mark Bishop, Dave Collins, David Fancy, Veronica Pacini-Ketchabaw, Malisa Kurtz, Nicole Land, Eric Lochhead, Douglas Ord, Joanna Perkins, Peter Rehberg, Chris Richardson, Hans Skott-Myhre, and Kathleen Skott-Myhre. (shrink)

This paper explores how engaging in and with philosophy in the streets has unique and special potential for children doing philosophy both inside and outside the classroom. We highlight techniques drawn from research into the political, social and activist potential of street art, and we illustrate how to apply these techniques in a P4C context in what we call guerrilla philosophy. We argue that guerrilla philosophy is a pedagogically powerful method to philosophically engage students whose ages range from 11-13. In (...) calling attention to the power of guerrilla philosophy to engage students philosophically, we are tacitly assuming a Deweyan philosophical approach, which emphasises the importance of promoting civic-mindedness as a social value; the reliance on imaginative, creative and experiential forms of learning as essential to education ; and a vision of the classroom as an embodiment of the larger civic community to which we all belong and in which we all must cooperate and engage. This paper traces these three themes in Dewey’s philosophical views of education and democracy, and considers how they are given a twenty-first century interpretation through street art, guerrilla philosophy and children’s activism. (shrink)

This article, drawing on selected feminist magazines of the 1980s, particularly Feminist Arts News (FAN) and GEN, offers a textual ‘braiding’ of narratives to re-present a history of Black British feminism. I attempt to chart a history of Black British feminist inheritance while proposing the politics of (other)mothering as a politics of potential, pluralistic and democratic community building, where Black thought and everyday living carry a primary and participant role. The personal—mothering our children—is the political, affording a nurturing of alterity (...) through a politics of care that is fundamentally antiracist and antisexist. I attempt to show how Black feminist thought can significantly contribute to democracy in the present and how Black British history and thought, as fundamentally antiracist and anticolonial, can generate a reinvention much needed in the present of a shared British history. I argue for feminist intervention premised upon a politics of care, addressing through activist mothering the urgency of Black absence from prestigious institutions. Such debilitating absence in Britain inhibits the development of scholarship, distorts feminist history and seriously concerns potential Black feminists. From diverse texts, I develop a genealogical narrative supplemented through memory work. This ‘gathering and re-using’ privileges Black women's theorising as a crucial component of the methodological metissage, which includes auto-theorising to develop ideas of resemblance in relation to Black British feminism and feminist kinship. The resultant ‘braiding’, I suggest after Lionnet, questions the absence of intersubjective spaces for reflection on Black British feminist praxis, indicating a direction for British feminists of all complexions. Attentive to the 1980s as historical context while invoking the maternal, I consider what is required to engage generationally, counterwrite the academy and pursue a dynamic process of transformation within a transnational feminism that challenges Black British absence from academic knowledge production, while nurturing its presence. (shrink)

This highly acclaimed introduction to green political thought is now available in a new edition, having been fully revised and updated to take into account the areas which have grown in importance since the third edition was published. Andrew Dobson describes and assesses the political ideology of ‘ecologism’, and compares this radical view of remedies for the environmental crisis with the ‘environmentalism’ of mainstream politics. He examines the relationship between ecologism and other political ideologies, the philosophical basis of ecological thinking, (...) the potential shape of a sustainable society, and the means at hand for achieving it. New to this edition: analysis of an intellectual and political 'anti-environment' backlash an account of sustainability in ecological thought the effect of globalization on ecologism ecological citizenship expanded bibliography. Green Political Thought remains the starting point for all students,academics and activists who want an introduction to green political theory. (shrink)

What Is a People? seeks to reclaim "people" as an effective political concept by revisiting its uses and abuses over time. Alain Badiou surveys the idea of a people as a productive force of solidarity and emancipation and as a negative tool of categorization and suppression. Pierre Bourdieu follows with a sociolinguistic analysis of "popular" and its transformation of democracy, beliefs, songs, and even soups into phenomena with outsized importance. Judith Butler calls out those who use freedom of assembly (...) to create an exclusionary "we," while Georges Didi-Huberman addresses the problem of summing up a people with totalizing narratives. Sadri Khiari applies an activist's perspective to the racial hierarchies inherent in ethnic and national categories, and Jacques Rancière comments on the futility of isolating theories of populism when, as these thinkers have shown, the idea of a "people" is too diffuse to support them. By engaging this topic linguistically, ethnically, culturally, and ontologically, the voices in this volume help separate "people" from its fraught associations to pursue more vital formulations. Together with Democracy in What State?, in which Giorgio Agamben, Alain Badiou, Daniel Bensaid, Wendy Brown, Jean-Luc Nancy, Jacques Rancière, Kristin Ross, and Slavoj i ek discuss the nature and purpose of democracy today, What Is a People? expands an essential exploration of political action and being in our time. (shrink)