This article examines the impact of the World Trade Organization (WTO) on domestic trade policies and practices. It shows that protectionist measures, including those practiced by the United States, have been effectively challenged, and consequently restricted, due to the WTO strengthened dispute settlement procedures. I show that the new procedures affected the substantive policy outcomes by changing the political influence of competing actors. Specifically, I identify four transformations affecting the political influence of participants: the re-scaling of political authority, the judicialization (...) of inter-state relations, the institutionalization of the international organization, and the structural internationalization of the state. Based on this case, the article offers a view of globalization as an institutional project. This view emphasizes the political dimension of the process of globalization; it suggests that this project was facilitated by transforming the institutional arrangements in place; and it identifies the contradictions inherent in it both to U.S. hegemony and to the globalization project itself. (shrink)

This study is based on the argument that globalism is a product of nationalism. I argue that globalism, understood as the imagination of the world as a single place, was made possible by and accompanies the emergence of nationalism, defined as the formation of an imagined community in a given discursive space. Focusing on the specific ways in which globalism is understood and experienced locally in Turkey, this study examines how the world-at-large is seen from Turkey as part and product (...) of the founding national ideology during the 1920s and 1930s, particularly as expressed in cartoons, and how these visions and images of the globe are produced, mobilized and disseminated locally as part of ongoing nation-building efforts. I argue that during these years the global was invariably imagined as the West, referring mainly to Western Europe, and this imagining was mobilized toward the creation and projection of Turkey as a modern, Western, secular country. I argue that the founding national ideology projected an image of the West as the global-other to be taken as a model and imitated, setting norms for the creation of a new national identity and new norms of citizenship around the principles of secularism, modernity and civilization, which could only be attained by the erasure of the local. (shrink)

ABSTRACTThis article argues that the normative foundations and political implications of David Held's cosmopolitan social democracy are insufficient as solutions to the moral and social problems he criticizes. The article develops a life-grounded alternative critique of globalization that roots our ethical duties towards each other in consciousness of our shared needs and capabilities. These ethical duties are best realized in political projects aimed at fundamental long-term transformations in the principles that govern major socio-economic institutions.

The article presents grounds for defining the fetish of artificial intelligence (AI). We highlight the fundamental differences of AI from all earlier technological advances, as they are primarily related to its introduction into the human cognitive sphere and generating fundamentally new uncontrollable consequences for society. We provide solid evidence that the leaders of the globalist project are the main beneficiaries of the AI fetish. This is clearly manifested in the works of philosophers who are close to major technology (...) corporations and their mega-projects. We suggest considering the problem of how to use the capabilities of AI to overcome the growing international conflicts and the global crisis. The focus is on the problem of agency, which solution from the standpoint of an anthropomorphic approach to AI is fraught with serious negative consequences. Endowing AI with agency, responsibility is implicitly removed from the person who uses the technology, and the established legislative practice is also destroyed. We present AI as an agent endowed with a set of invariant generalized qualities that is similar to natural subjects. These qualities include: the ability to deliberation, reflexivity, communication and elements of sociability. Such a representation of AI as an agent (pseudo-subject) is consistent with the principle of distributed control in biology and psychology, which was called the principle of a dual subject. In combination with the systems of principles and ontologies specified in the concept of post-nonclassical cybernetics of self-developing environments, this will allow the use of AI as a means of social innovation, while maintaining control over AI technologies. This will also help to pose and solve the problem of integrating formations of artificial and natural intelligence while maintaining the basic qualities of carriers of natural intelligence. (shrink)

A growing number of left-wing scholars criticize practices of transnational solidarity. Pointing to the cooptation of “globalism” by neoliberal capitalism, these scholars utilize this critique to advance leftwing nationalism. In this article, I reconstruct symptomatic texts of this genre and identify the critique of (liberal) cosmopolitanism as the common denominator in their calls for nationalizing the Left. As a consequence of their opposition to cosmopolitanism, these authors reject freedom of movement or global justice activism. In order to examine whether the (...) project of transnational solidarity is affected by this critique, I reconstruct its justifications in Critical Theory and postcolonial-feminist theory. Hauke Brunkhorst and Chandra Mohanty exemplarily theorize transnational solidarity in different ways, but each based on a substantial critique of liberal cosmopolitanism. By that, I show that a principled return to nationalism derived from a critique of cosmopolitanism is informed by coincidental evidence that rejects practices of transnational solidarity because of their alleged embeddedness in cosmopolitan reason. Drawing on La Via Campesina, I illustrate principles of a transnational solidarity project that is not justified with liberal cosmopolitan ideas. Their experiences challenge the nationalist/statist critique while not falling back into naïve and/or neoliberal cosmopolitanism. (shrink)

Nowadays, there is an evolving process of digital transformation and the introduction of artificial intelligence (AI) into a wide range of social systems. Usually, insufficient attention is paid to assessing the social consequences of such innovations. The underlying causes of that are related to the dominance of the technogenic model of civilization, the embodiment of which is the technocratic approach, and the use of this approach in the interests of the globalist project. In the development and implementation of (...) digital technologies and AI, an ontological paradox arises, for overcoming which it is required to develop adequate philosophical and methodological foundations for assessing social innovations based on digital technologies. The article discusses the expediency of using three types of scientific rationality (classics, non-classics, post-non-classics) to overcome the limitations of the Western model of technogenic civilization and the use of a subjective approach corresponding to this rationality. It is fundamentally important that the three types of scientific rationality correspond to the key stages in the evolution of cybernetics and AI. The evolution of AI is analyzed from these positions and an approach is proposed to overcome the ontological paradox in digital transformations and the implementation of AI. In the context of the development of ideas on scientific rationality, the author considers the specifics of innovative models based on digital technologies and AI. The article examines the problem of the formation of an integrative field of knowledge as the ergonomics of digital transformations and AI, which will allow to take into account the rich ergonomic experience of a multi-criteria socio-humanitarian assessment of the use of computer technology and software: productivity, safety, satisfaction, and development. In the conclusion, the article considers the basic positions of the configurator, that is, of the devise for assessing innovations based on digital technologies and AI, including assessing of scientific, methodological and organizational issues and persons concerned. (shrink)

This article argues that the key crisis that has overtaken today’s global economy is the classical capitalist crisis of over-accumulation. Reaganism and structural adjustment were efforts to overcome this crisis in the 1980s, with little success, followed by globalization in the 1990s. The Clinton administration embraced globalization as the “Grand Strategy” of the United States, its two key prongs being the accelerated integration of markets and production by transnational corporations and the creation of a multilateral system of global governance, the (...) pillars of which were the World Trade Organization, the International Monetary Fund and the World Bank. The goal of creating a functionally integrated global economy, however, stalled, and the multilateral system began to unravel,thanks among other things to the multiple crises created by the globalization of finance, which was the main trend of the period. In response partly to these crises, partly to increasing competition with traditionally subservient centre economies, and partly to political resistance in the South, Washington under the Bush administration has retreated from the globalist project, adopting a nationalist strategy consisting of disciplining the South through unilateralist military adventures, reverting to methods of primitive accumulation in exploiting the developing world, and making other centre economies bear the brunt of global adjustments necessitated by the crisis of over-accumulation. (shrink)

This chapter defends the project of global media ethics against the skeptics. The overall question for this chapter can be stated as follows: Is the creation of global media ethics as a whole a realistic and desirable goal? The chapter proceeds by exploring, and responding to, the major criticisms of the project and its idea of moral globalism. It then presents a realistic conception of what can be achieved by global media ethics. The chapter concludes that it is (...) both rational and practically worthwhile to support the project of global media ethics. (shrink)

Globalization and humanization form two different yet complementary processes. Globalization of human personality is the criterion of social progress. Doctrine of social humanism combines two aspects of knowledge: globalistics and humanistics, the political and the historical points of view. The humanistic project of globalization goes through three consequent stages: conservative, liberal and social. These stages are three giant leaps in human history, the civilization revolutions. On the microhistorical scale they form political rhythm of globalization that determines three kinds of (...) political revolutions. On every stage thepolitical ideologies fight to gain power but only a dialogue between conservative, liberal and social forms of humanism can provide realization of global project of humanity. (shrink)

As individuals and social activists, Bob Marley and Frantz Fanon appear to stand in paradoxical relations with one another. In some ways, they were kindred, coming from the same physical and social spaces—Marley from Jamaica and Fanon from Martinique. As social activists, they spoke the same language of liberation that transcends their local and regional realities—specifically; both were globalists as the theory of liberation is concerned. However, Marley and Fanon, to certain extents, differed in relation to the means of liberation. (...) While Marley sometimes vacillated on the use of violence for liberation, Fanon was emphatic that violence is a veritable means of liberation. While Marley looked back for the ingredients of the liberation process, Fanon believed that moving forward to the future is the tool kit of liberation. The paper places Marley’s and Fanon’s notions of liberation within the context of the existential issues raised by the twin phenomena of slavery and colonialism. The paper situates Marley and Fanon along the poeticist and historicist analytical framework enunciated by Paget Henry (2000). While Marley could be identified with the poeticist school which advocates for a reconstruction of the past as a means of liberation, Fanon’s historicism projects an alternative reality to replace the past in order to liberate the oppressed. The paper argues that both positions can be reconciled to achieve a coherent theory of liberation, which is the mitigation of the situation of the oppressed and the powerless in Caribbean society and the world in general. (shrink)

This chapter examines the shift from parochialism to globalism in ethics and its implications for the project of global media ethics. It discusses what form of globalism should explain and justify media ethics. The chapter argues that, today, we face a choice between globalism—to place global principles at the basis of ethics—and parochialism—to make parochial principles primary in ethical belief systems. The chapter examines cosmopolitanism as an historical, and still attractive, form of globalism. It sketches its origins, kinds, main (...) beliefs, and issues. Then it considers what type of cosmopolitanism is best. The chapter concludes by proposing the ethic of global human flourishing, with its four levels of the human good and four corresponding kinds of dignity. (shrink)

The post-global is a synthetic project of being with existential vectors. It concerns the essence of human existence. It is here a priori theorized, traced transcendentally, and ontologized in the necessary unity of human experience. The post-global is a cyclical relative ontologem, a transition from a global age to an age that does not have yet a clarified being-generating essence. It represents the immanent decay of a certain age. In this case: the collapse of the ontology of the spirit. (...) That is why ideologies are extant in it above all. The post-global is a permanent dynamic between a passing type of globalism, the current decline and an absent to-be, which, however, has an inter-epochal scale. It is marked by retrograde forces and influences. The post-global does not and cannot have its own name. Therefore, it is a gap in which only alienation reigns. Kant’s transcendental project, developed in a non-conservative formal-rational perspective, offers a possibility of an ontological balancing of the post-global in an existential horizon. (shrink)

Cosmopolitanism is often adrift in a sea of interpretations. As such, it is frequently conflated with related terms like globalism, multiculturalism, and internationalism, just as it is unfittingly juxtaposed with concepts like nationalism and patriotism. Cosmopolitanism thus risks becoming a concept so fluid as to lose all meaning. While cosmopolitanisms’ conceptual ambiguity and definitional fluidity has provided inspiration for over two millennia of debate, it has also contributed to the lack of a grounded and accessible conceptual framework from which today’s (...) students, educators, and cosmopolitanism-minded practitioners can build. This article seeks to address that deficit by introducing an original conceptual framework from which modern cosmopolitanism, as an ethical project, might be succinctly identified, understood, and evaluated. This framework forwards that modern notions of cosmopolitanism rest on three primary pillars: respect, responsibility, and rootedness, each of which must be simultaneously realized for cosmopolitanism to exist. In the cosmopolitan context, respect prioritizes unconditional respect for free rational beings even as it conditionally assesses how cultural practices uplift the individual. Concurrently, cosmopolitan responsibility is recognizing and fulfilling one’s inexorable moral obligation to others. Finally, cosmopolitan rootedness is creating and maintaining conditions where social justice and human flourishing may thrive within one’s own traditions, cultures(s), and society. (shrink)

At the 50-year anniversary of Fluxus, Ken Friedman looks back on the activities and achievements of a laboratory for art, architecture, design, and music. This article examines the political and economic context of the 1950s against which Fluxus emerged to become the most radical and experimental art project of the 1960s, thoroughly international in structure, with women as well as men in central roles. The article examines the hermeneutical interface of life and art through 12 Fluxus ideas: globalism, the (...) unity of art and life, intermedia, experimentalism, chance, playfulness, simplicity, implicativeness, exemplativism, specificity, presence in time, and musicality. (shrink)

In this book, Aleksandr V. Bezgodov and Konstantin V. Barezhev formulate planetary ethics--the most important part of the philosophy of the Planetary Project. Planetary ethics represent the moral basis and value code for building a biocompatible, harmonious, and manageable civilization. They analyze the moral and ethical views of those Russian cosmists who belonged to the natural science branch of this unique philosophical, scientific, and cultural phenomenon. Looking at the world through the prism of a planetary-cosmic consciousness, cosmists developed a (...) system of biocentric and humanistic values.Russian cosmism is a spiritual rebellion of life against chaos, death, and limitation. A combination of science, philosophy, poetry, and a certain utopianism extended on a universal scale makes Russian cosmism a prologue to the modern nonclassical, science-based worldview that emphasizes synergy and globalism. Back in the late nineteenth to early twentieth century, cosmists focused on a united humanity and the principles of a close relationship between man and the universe. This monograph lays the groundwork for the planetary ethics that originated in the philosophy of Russian cosmism. The monograph continues the series of books of the Planetary Project, Planetary Project: From Sustainable Development to Managed Harmony and Planetary Rent as an Instrument for Solving Global Problems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 67-88 [Access article in PDF] In the Wake of Cultural StudiesGlobalization, Theory, and the University Tilottama Rajan 1 Theory today has become an endangered species, as evidenced by the resistance to difficult language. This is not to deny that it leads a quasi-life as the domesticated ground for what has replaced it, or as a form of prestige: a signifier for "cutting-edge" discourses. But in using (...) the term here, I refer to the work that came into prominence after the Johns Hopkins conference on "The Structuralist Controversy" (1966), the modes of thought it made possible, and the antecedents for such thought going back to the late eighteenth century. Like the humanities generally, this Theory has become submerged in Cultural Studies, 1 which displaced it in the nineties as a central concern of institutes, interdisciplinary programs, and lecture series. "New" academic undertakings in the humanities are by definition those that have a cultural focus. Occasionally we come across programs in "Theory and Cultural Studies" which equate fields that could overlap dialogically but are not identical.Let us grant that practices at the ground level of teaching are more diverse because hiring has occurred over generations; or that there are no absolute epistemic shifts because of what Mary Poovey calls a process of "uneven development," in which "emergent" "rationalities" develop from "and retain a constitutive relationship to... residual domains" [Social Body 14-19]. At the level of marketing and image (and thus also the self-image of academics), Cultural Studies has become the primary focus of North American academic publishing in the humanities, 2 which thus reimagines itself in terms of the globalism of culture rather than the nationalism of "literature," even as the wider [End Page 67] technocratic apparatus thereby reduces the entire humanities to a form of "area studies." And as Heidegger presciently saw in 1938, publishing is a form of governmentality: through the "prearranged and limited publication of books," publishers "bring the world into the picture for the public and confirm it publicly" [139]. On the other side, if a space has been kept for Theory, it has migrated out of English into continental philosophy departments and book series. The result has been an esotericizing and narrowing of Theory to post-Heideggerian French philosophy: the most powerful current in American continental philosophy departments—hence the survival of Derrida but not the early Foucault, and hence the survival of a Derrida very different from the one who made an impact in the seventies. 3Why did Cultural Studies so readily replace Theory? And why focus on the loss of Theory rather than literature, which has also entered the domain of the residual? After all, Anthony Easthope, a decade ago, saw Theory as no more than the "symptom" of a crisis leading from the collapse of literature to the emergence of Cultural Studies [5]. In starting with the cathexis onto "culture" of an academic desire once mediated through "Theory," I suggest that both Theory and Cultural Studies are encyclopedic organizations of knowledge that have therefore served as meta- or flagship disciplines for the humanities. Constituted outside the regular structure of departments in programs and "centers," both have been responsible for a decentering innovation (recognizing the emergence of knowledges outside traditional boundaries) and a recentering of the humanities' "mission" by which it addresses the university at large. The encyclopedic impulse goes back a long way, whether it takes form in such gatherings as the early cabinets of curiosities, in universities as attempts to gather different disciplines into an institutional plurality, or in actual encyclopedias. Enkyklos paideia, meaning "circle of learning," is a gathering of subjects that are meant to be interrelated as knowledge by a single individual, in contrast to indexical systems (such as dictionaries), which are secondary reference tools that store information outside the mind for selective retrieval by different people. Actual encyclopedias, from Anglicus and Vincent of Beauvais to the Encyclopédie and Hegel's "philosophic encyclopedia," have thus been intimately tied up with existing or projected organizations of knowledge. They have functioned as proto-universities... (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

The Thesis states Global Terrorism, is a global project that has no direct place or time is an interesting approach. Although the reason of terrorism has been come down to difference between civilizations and religions; that is not the case. Another reason which is argued is that Muslims are unable to integrate into Western societies. However this is not unique to Muslims, it is also a problem for non-Muslim immigrants. Another problem is whether Islam is compatible with democracy or (...) not. Most of the Islamic countries have despotic and oppressive regimes which are economically, politically and socially unstable. However this has nothing to do with Islam. Hundreds years of colonization did not let democratic values and institutions to develop in these countries. Lack of non-governmental organizations in Islamic world; caused these countries to become either a secular despotic or an Islamic oppressive regime. Both situations create an environment for radical groups to exist. To eradicate terrorism, one has to look for its political and economical reasons. The despotic regimes in Islamic countries have to be removed and United States and other Western countries should change their mentality while dealing with terrorism. (shrink)

This article contests the popular assumption that literature is ever less politically relevant. Quite the contrary is the case: literature and literary language becomes increasingly important for the alter-globalization movement and for the notion that ‘another world is possible.’ The work of four authors—Manu Chao, Eduardo Galeano, Subcomandante Marcos, and José Saramago—are comparatively analysed in light of their contribution to an alternative globalism and to an alternative practice of politics. All four authors contribute from different perspectives to the literary articulation (...) of a political project. Their work shares characteristics such as the permeability of genres, the emphasis on the poetical over the narrative, a meandering structure that expresses the search for and step-by-step construction of a cultural and political alternative, and an emphasis on translation and encounter as principles of interaction with difference. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 2. © 2021 by Feminist Studies, Inc. 419 Paul Amar Insurgent African Intimacies in Pandemic Times: Deimperial Queer Logics of China’s New Global Family inWolf Warrior 2 This essay offers a new paradigm of “deimperial queer analysis” that reveals the tension between the People’s Republic of China’s extractive expansionism in Africa and its claim to solidarity with Africans against white supremacy and Northern imperialism. China (...) has been labeled an “anti-imperial empire” that forcefully challenges previous Euro-American imperial legacies—all while it verges on reenacting them.1 A critical way it resolves this geopolitical tension is through the articulation of a mission for global China, and since 2017, the heroic filmic fictional figure of the “Wolf Warrior” anchors such an approach. The Wolf Warrior is a gorgeous, muscled, Chinese male rogue soldier in exile who adventures through the archipelago of the PRC’s shipping, mining, and medical projects across the Global South to battle white mercenaries, corrupt Asian businessmen, and local pirates—all while saving Africa from a ravaging pandemic. Extending a hugely popular film series, the release in 2017 of the blockbuster Wolf Warrior 2 (abbreviated below as Wolf 2) unleashed a worldwide social media frenzy as well as a revolution in diplomatic tone and protocol for China. In these ways, Wolf Warrior 2 came to mark the debut of the global PRC as a hegemonic structure 1. David Armitage, “The Anti-Imperial Empire?” Times Literary Supplement, no. 6018, August 3, 2018, https://www.the-tls.co.uk/articles/the-anti-imperialempire -american. 420 Paul Amar of feeling with an attendant popular cultural logic, launching a cast of military characters, humanitarian imaginaries, and gendered rebranding initiatives. These fused into a global cultural megaproject with the PRC presenting itself as a leader in responding to the COVID-19 pandemic in the Global South—a time the PRC has officially branded as its “Rejuvenation Era” of “Stepping Out into the World.” This essay shows how exactly this Wolf Warrior imagination has legitimized a new global regime, but I also reveal how, paradoxically, the Wolf Warrior regime has offered a distinct, more subversive worlding project. I argue here that the utopia immanent in this project can be revealed by interpretively turning this Wolf universe inside out through a deimperial queer analysis that honors and combines a Third World feminist lens and the “Asia as Method” approach with Danmei/BL and Slash queer-feminist fanfiction hacks. Danmei is a Chinese (originally mainly Tawainese) fanfiction genre that subverts mainstream heteronormative narratives by erotically aestheticizing and renarrating male-male intimacies within mainstream plotlines from feminist perspectives. BL (short for “boylove ”) is a similar Japanese fanfiction genre, and Slash is the term used in English for the queer/feminist hacking and excavation of sublimated and particularly utopian gender and sexuality plots from within seemingly conventional heteronormative or patriarchal popular-cultural texts. The everted or inside-out epistemology given expression here uses a set of non-phallogocentric lenses and decolonial feminist decoding practices. At stake is the urgency of not repeating the epistemic violence of conventional “anti-imperial” arguments, which tend to be heteronormative, statist, macho, and monolithic. Instead, the form of critique elaborated here brings questions of gender, race, and sexuality to the fore through a three-part approach. First, I identify the homoerotic register of the techno-infrastructural elements in the film. I generate close readings that detail the visual and genre codes of battle scenes, thug subjects, and piracy plots that forge a homoerotic model of rogue or “wolf” governmentality and that act as a metaphor for China’s techno -infrastructural rule. Second, this essay explores the gendered hauntings of supremacist humanism. I deploy a decolonial feminist lens to map the configuration of African women, female doctors, Maoist women insurgents, and feminized “flowerboys” as a rebel protectorate overseen by China’s phallic prerogative that is itself haunted by the specters of Euro-American humanist betrayal and white supremacy. Third, Paul Amar 421 I trace queer kinship utopias. I demonstrate that Wolf Warrior 2 rejuvenates a non-Western, queer, globalist kinship structure that triangulates Asian, white, and Black through adoption dramas and bromance bonds. Through these intimacies, an... (shrink)

In his publications since the three-volume Spheres project, Peter Sloterdijk thematizes religion as a now outmoded immunological system. He says it can no longer perform its historical function because humans have lost the protection of a world periphery. The entirety of what was “outside” is now “inside,” and this has happened because: (1) spheres are systems, and as Luhmann shows, systems naturally complexify and expand themselves by becoming self-reflective; and (2), as Nietzsche says, humans are driven by a need (...) to surpass themselves. The loss of world periphery is manifest in the climate crisis, which registers as a general sense that we must “change our lives.” This gives Sloterdijk the chance (or so I argue) to create a new sphere (in the symbolic mode) that can be shared by all humans, a function no so-called world religion can fulfill. This new solidarity would come about when the earth becomes the completing “other” to every self, and individuals act in accordance with the imperative to assure the existence of human life on earth. The last section of the paper contrasts Sloterdijk’s spherology with Latour’s actor–network theory, and his later move into political ecology. I argue that, despite their alliance against “globalism,” Latour and Sloterdijk are working with very different models of space (spheres vs. networks) and have different agendas vis-à-vis the climate crisis. Sloterdijk is trying to build ethical solidarity among humans, while Latour is concerned with a politics (in the Schmittian sense) between both human and nonhuman actors, including Gaia, which is both the space of action (a network of networks) and an actor in its own right. And finally, I take up Sloterdijk’s statement that religions were never anything other than human practices, compared with Latour’s call for acting “religiously,” which means “respecting what others cling to.” I do this by way of showing there are conceptual limitations to the concept of spheres and to Sloterdijk’s project overall. (shrink)

Having taken note of, and critically analyzed, Professor Maduabuchi Dukor’s epochal work entitled“Theistic Humanism of African philosophy-the great debate on substance and method of philosophy”(2010), I am much encouraged and rationally convinced that he has succeeded in building the core critical and essential foundational pillars of what can safely pass for professional African philosophy, though much remains to be done by way of further research from other scholars. Based upon that conviction and the great prospects that the African philosophy (...) class='Hi'>project breakthrough holds for every African philosopher in the global village, I am also motivated to take a closer look at, and carry out a critical exposition of the concept of justice in the context of African cultural values, using the propositions of what he calls the canons of cultural values that are native to African philosophy. These cultural values define African identity and delineateAfrica’s contributions to the advancement of the global ideas of justice, axiology, gender and globalization. The essence and methodology of this article, therefore, will lift the relevant thematic thrusts and arguments made by the erudite Professor of African philosophy to“properly locate African philosophy in the context of globalism, cosmopolitanism, science and what it could contribute to emerging global culture”(Dukor,2010:p.ix). The central point of this critical exposition is that his theistic inspired cultural humanism has enhanced the global understanding of not only justice but feminist rights and the urgent needs for African philosophy to make its contributions towards the emancipation of and empowerment of women both in the continent and globally. The feminist search for justice, according to Dukor, is“the current global pool where the African is needed urgently to intervene”, since“feminism and women liberation has truncated the equilibrium and balance of relations between man and woman. African contribution to this class struggle between man and woman is a neutral one that absorbs the man and woman to their respective natural places in the nature’s womb”. Women’s search for global justice and the struggle to have their human rights recognized as a part of mankind’s gender balancing process would be philosophically enriched by Professor Dukor’s cultural value propositions and canons of justice. (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)

This work attempts to address some basic feasibility concerns in the global taxation policy proposal. In recent years, moral-political philosophizing has extensively advan-ced the idea of transnational justice through volumes of scholarly literature. In moving the discussions beyond an ideational level and projecting it onto a practical realm, mo-ral-political thinkers have proposed a global taxation policy, the proceeds of the imple-mentation of which are meant to cater for the global poor. This proposal is morally laudable, given that it would substantially (...) benefit the global needy. Nonetheless, the proposal raises some basic feasibility concerns, such as the moral and legal justifiability of the proposal; the nature of the object to be globally taxed and how it is to be globally taxed; the nature of the globalist institution to implement the proposal; the legitimacy challenge of the globalist institution, and the challenge of practical implementation of the proposal by the institution. If the proposal is to succeed, the critical issues ought to be constructively addressed. Given that institutionalism necessarily emerges in the fea-sibility concerns, an institutionalist approach is advanced in this work to constructively address them. (shrink)

The article is devoted to the culturological analysis of the new model of the subject in the twenty first century. The methodology of work is based on the wave theory of social development. Modern society enters the state of the "fourth wave". The fourth wave comes in place of the agrarian, industrial and informational societies. This wave is called "new Industrialization" in contemporary economic context. The modern economy needs the revival of the industrial sector with the support of the national (...) state. New industrialization is countering the global control and fragmentation of the world. The national state is changing its concept from unitary to glocal and multi-polar. Consciousness of citizens should also change. The subject of the fourth wave is a cultural nomad. He makes travels to the global world and switches cultural codes in different contexts. The term "altermodern" is the word of curatorial practice of "zero". It means the nomadic consciousness, the ability to cultural wanderings. Nomadic consciousness is based on the model of transculture. Trans-national and trans-cultural view is a synchronization in the human minds of different cultural worlds. Man is at the point of their collision, belongs to all the worlds and does not apply to any one. It accumulates in its consciousness projections of different cultures, their possible alternatives and development. Nomadism, transculture and altermodern - is the gap between globalization and antiglobalism. Globalism causes unification of cultures. Anti-globalism leads to a revenge of fundamentalism and ethnic isolation. Nomadic consciousness of the altmodern balances between the universal and particular principles of human existence. Opposition to ideology is a distinctive feature of transcultural altmodern. The fourth wave is characterized by total radicalization of the world as a result of the revival of the neoliberalism of the right-wing dictatorships on the territory of the Third World countries. "The doctrine of shock" is the source of the formation of neo-totalitarianism. Art liberates him. Psychoanalysis is a means of liberation from ideologies. The procedure for dismissal is based on art therapy in the aesthetic cluster. Altermodern is an era of increasing role of artists in shaping the consciousness of a cultural subject. Art-galleries of the world use techniques of psychoanalytic work with the public. They provide rearrangement of the subject in the direction of an open dynamic consciousness without boundaries and prejudices. (shrink)

John Dewey conceived democracy as a cooperative problem-solving practice in which actors try out provisional solutions by means of social communication. His notion of experimental democracy as a specific form of life and an ethical enterprise rather than simply a form of government implies the constitution of a polity as a practical and complex process of exchanging and sharing experiences. The aim of this paper is to test the feasibility of using a Deweyan theoretical basis for democracy to assess the (...) potential for a European process of political integration. The historical-conceptual presuppositions of the European Union’s institutional project preclude both a narrow local perspective and an illusory globalist scheme. To redirect Europe’s democratic vocation, a process of political and institutional communication must be developed that transcends the existing national paradigm. (shrink)

Volume 8 of this landmark edition follows Peirce from May 1890 through July 1892—a period of turmoil as his career unraveled at the U.S. Coast and Geodetic Survey. The loss of his principal source of income meant the beginning of permanent penury and a lifelong struggle to find gainful employment. His key achievement during these years is his celebrated Monist metaphysical project, which consists of five classic articles on evolutionary cosmology. Also included are reviews and essays from The Nation (...) in which Peirce critiques Paul Carus, William James, Auguste Comte, Cesare Lombroso, and Karl Pearson, and takes part in a famous dispute between Francis E. Abbot and Josiah Royce. Peirce's short philosophical essays, studies in non-Euclidean geometry and number theory, and his only known experiment in prose fiction complete his production during these years. Peirce's 1883-1909 contributions to the Century Dictionary form the content of volume 7 which is forthcoming. (shrink)

The Bentham Project is delighted to announce a call for papers for “Bentham and Australia: Convicts, Utility, and Empire”, a conference to be held at University College London on 11-12 April 2019 to mark the forthcoming publication of Writings on Australia, a volume of The Collected Works of Jeremy Bentham. The conference will explore themes such as the influence and impact of Bentham’s ideas on the theory and practice of punishment in convict Australia, on advocates and opponents of co...

Praise for Volume 1: "... a first-rate edition, which supersedes all other portable Peirces.... all the Peirce most people will ever need." —Louis Menand, The New York Review of Books Volume 2 of this convenient two-volume chronological reader’s edition provides the first comprehensive anthology of the brilliant American thinker Charles Sanders Peirce’s mature philosophy. A central focus of Volume 2 is Peirce’s evolving theory of signs and its appplication to his pragmatism.

Instead of conceiving ethical commands as divine revelations or as the discoveries of brilliant thinkers, we should see our ethical practices as evolving over tens of thousands of years, as members of our species have worked out how to live together and prosper. Here, Kitcher elaborates his radical vision of this millennia-long ethical project.

Descartes has often been called the 'father of modern philosophy'. His attempts to find foundations for knowledge, and to reconcile the existence of the soul with the emerging science of his time, are among the most influential and widely studied in the history of philosophy. This is a classic and challenging introduction to Descartes by one of the most distinguished modern philosophers. Bernard Williams not only analyzes Descartes' project of founding knowledge on certainty, but uncovers the philosophical motives for (...) his search. With acute insight, he demonstrates how Descartes' _Meditations _are not merely a description but the very enactment of philosophical thought and discovery. Williams covers all of the key areas of Descartes' thought, including God, the will, the possibility of knowledge, and the mind and its place in nature. He also makes profound contributions to the theory of knowledge, metaphysics and philosophy generally. With a new foreword by John Cottingham. (shrink)

Supporters of conceptual engineering often use Haslanger’s ameliorative project as a key example of their methodology. However, at face value, Haslanger’s project is no cause for optimism about conceptual engineering. If we interpret Haslanger as seeking to revise how people in general use and understand words such as ‘woman’, ‘man’, etc., then her project has been unsuccessful. And if we interpret her as seeking to reveal the meaning of those words, then her project does not involve (...) conceptual engineering. I develop and defend an alternative interpretation of Haslanger’s project and argue that, so interpreted, it is a successful conceptual engineering project after all. In so doing, I develop what I call a particularist account of the success conditions for conceptual engineering. (shrink)

A fundamental question for IR is whether the value system of liberalism can be universalized, or if, in fact, the illiberal reality of international politics systematically rules out such a universalization. The book addresses this issue by focusing on the rise and fall of a specific liberal project supported by influential German intellectuals.

The Eugenic Mind Project is a wide-ranging, philosophical book that explores and critiques both past and present eugenic thinking, drawing on the author’s intimate knowledge of eugenics in North America and his previous work on the cognitive, biological, and social sciences, the fragile sciences. Informed by the perspectives of Canadian eugenics survivors in the province of Alberta, The Eugenic Mind Project recounts the history of eugenics and the thinking that drove it, and critically engages contemporary manifestations of eugenic (...) thought, newgenics. An accessible, original work of scholarship adopting what the author calls a standpoint eugenics, this book focuses on the roots of eugenic thinking past and present. It will provoke and enrich discussions about human nature and human diversity, the social uses of biotechnology, and social policy governing future generations. You can download the preface and acknowledgements here. (shrink)

The ultimate goal of the pioneering project outlined in this book is to map our genome--the key to what makes us human--in detail. The Code of Codes is a collective exploration of the substance and possible consequences of th is project in relation to ethics, law, and society.

As global warming continues to attract growing levels of attention, various stakeholders have put climate change on corporate agendas and expect firms to disclose relevant greenhouse gas information. In this paper, we investigate the consistency of the GHG information voluntarily disclosed by French listed firms through two different communication channels: corporate reports and the Carbon Disclosure Project. More precisely, we contrast the amounts of GHG emissions reported and the methodological explanations provided in each channel. Consistent with a stakeholder theory (...) perspective, we find that GHG amounts are significantly lower in the CR than in the CDP. We also find that firms increase the CR figures’ traceability when there is a discrepancy between disclosures in the two channels. We suggest that the aim of this greater traceability is to enhance information credibility across the different channels used. (shrink)

_Reflective Authenticity: Rethinking the Project of Modernity_ is a challenging consideration of what remains of ambitious Enlightenment ideas such as democracy, freedom and universality in the wake of relativist, postmodern thought. Do clashes over gender, race and culture mean that universal notions such as justice or rights no longer apply outside our own communities? Do our actions lose their authenticity if we act on principles that transcend the confines of our particular communities? Alessandro Ferrara proposes a path out of (...) this impasse via the notion of reflective authenticity. Drawing on Aristotle, Kants concept of reflective judgement and Heideggers theory of reflexive self-grounding, _Reflective Authenticity: Rethinking the Project of Modernity_ takes a fresh look at the state of Critical Theory today and the sustainability of postmodern politics. (shrink)