Introduction : low theory -- Animating revolt and revolting animation -- Dude, where's my phallus? forgetting, losing, looping -- The queer art of failure -- Shadow feminisms : queer negativity and radical passivity -- "The killer in me is the killer in you" : homosexuality and fascism -- Animating failure: ending, fleeing, surviving.

Passant du cinéma d’animation pour enfants (en suivant les exemples de films comme Chicken Run et Le monde de Nemo ) aux artistes queer contemporaines qui ont embrassé l’échec comme un style à part entière, Jack Halberstam part à la recherche de modèles de parentés, d’alliances et de communautés pour faire alternative au monde néo-libéral et à l’idéologie du succès qui en façonne les subjectivités. Cette idéologie se déploie notamment au travers des multiples injonctions à « réussir » dans les (...) différents aspects de la vie sociale : il faut produire, accumuler et se reproduire – autant de maillons dans la chaîne de (re)production du capital. Dans The Queer Art of Failure, Halberstam propose une méthode de déviance joyeuse par rapport à cette idéologie du succès : « d’abord, résister à la maîtrise » ; « ensuite, privilégier la naïveté et l’absurdité (la stupidité) ». (shrink)

The last 25 years have seen advances in our understanding of the neuroscience and neuropsychiatry of fear. From the basic brain mechanisms of fear to new evidence-based treatments for the pathologies of fear, the field has experienced progress towards an understanding of the underpinnings of fear in the brain and its influence on behaviors. Yet, to date, there has been less than ideal incorporation of these new findings, insights and models into the public policy and economic domains. Even when notions (...) of risk, uncertainty, and emotional decision-making are discussed, these discussions may not access insights from the latest contemporary neuroscience of fear, or clinical techniques in changing pathological fear responses. This paper will explore how a more complete incorporation of these advances may contribute to our understanding of fear and its management. Applying these advances in specific amenable policy areas may lead to new, more effective approaches to public and economic policies. (shrink)

In a new book titled Wild Things: Queer Theory After Nature, I develop a new critical vocabulary to access different, transdisciplinary ways of thinking about race, sexuality, alternative political imaginaries and queer futurity and extinction. Wildness in no way signals the untamed frontier, or the absence of modernity, the barbarian, the animalistic or the opposite of civilization. Rather, in a post-colonial and even de-colonizing vein, it has emerged in the last few years as a marker of a desire to return (...) queerness to the disorder of an unsorted field of desires and drives; to the disorienting and disquieting signifying functions it once named and held in place; and to a set of activist and even pedagogical strategies that depend upon chance, randomness, surprise, entropy and that seek to counter the organizing and bureaucratic logics of the state with potential sites of ungovernability and abjection. Wildness signifies in my project in a number of different ways, but here I use the framework of “abjection” to explain some of the appeal of wildness and a few of the ways in which it expresses relations between the unnamable, the excessive, horror and death. Later on, I will turn to a set of performances and art projects that are deliberately auto destructive and that collectively imagine the end of the human. (shrink)

Hannah Arendt’s aesthetic approach to politics is regarded as frequently reflecting the anti-political substitution of nonpolitical concerns for political ones characteristic of the German tradition from Schiller to Heidegger and beyond. Arendt’s relationship to this tradition can be understood as squarely calling into question her central claim to have rehabilitated the political. This paper examines the relationship between Arendt’s and Heidegger’s political thought in light of the distinction between an aestheticism and an aesthetic approach. Two issues are at stake: can (...) such a distinction help distance Arendt’s aesthetic approach from those elements we find so troubling in Heidegger’s thinking and his relation to politics? Can this help us to recuperate a certain aspect of German political thought which is reflected in Arendt’s work? (shrink)

Looks at friendship, romance, self-centeredness, conversation, emotions, moral values, judging others, cultural relativism, bias, fanaticism, and misleading moral cliches.

By the fourth decade of the twentieth century... the earthly paradise had been discredited at exactly the moment when it became realizable. George OrwellThe subterranean stream of Western history has finally come to the surface and usurped the dignity of our tradition.Hannah Arendt.

Can humans truly be the measure of all things? Is relativism a corrosive concept, undermining any chance we have of getting clear about things? Should we seek foundations for our values, or is such an effort a waste of time? With David Gallagher, Shannon Jordan, and Joshua Halberstam.

Can humans truly be the measure of all things? Is relativism a corrosive concept, undermining any chance we have of getting clear about things? Should we seek foundations for our values, or is such an effort a waste of time? With David Gallagher, Shannon Jordan, and Joshua Halberstam.