Democracy is seen today as being in erosion or crisis both in the Global North and South. This article puts forward the concept of ‘dependent democracy’ in order to explain that much of the lack of success of democracy in the South in guaranteeing political participation and economic inclusion and wellbeing for the majority of the population is due to a specific tendency of democracy there. Adapting some insights from the more economics focused Dependency theory towards a more contemporary point (...) of view from political sociology and international political sociology, dependent democracy is understood as a democracy that exists in a subaltern position within the hierarchical, post-imperial and neo-imperial global capitalist order. Dependent democracies thus tend to be less ‘democracies’ and more ‘oligarchies’ within a form of government in the South that can be understood as existing in a global pyramid of semi-peripheries, middle peripheries and outer peripheries. (shrink)

The idea of modern art presupposes the rise of historicism and the sense of progress since the Enlightenment. Once art, however, conceives itself as progressive and hence modern, it is confronted by the paradoxes of progress: progress renders the modern obsolete at the same time as it seeks to give itself meaning by positing a goal, a destination that would be the end purpose and hence the end of progress. As a consequence, modern art is impelled to constantly transcend its (...) own achievements and limits in a utopian quest for the artwork of the future, the ultimate work of art. But what happens to art when the grand art-historical narrative of modernism collapses? I argue that the ‘modern’ mutates into the ‘contemporary’ and that art now defines itself not in relation to the future but to the present. Contemporary art understands itself as operating in the present, that is, as an art for the present. It finds its destination now in the latest institutionalization of the paradoxes of progress: the museum of contemporary art. (shrink)

Aesthesis, the classical term for sensing and perceiving, is at the heart of innumerable problems that plague global society. The purpose of this article is to open a conversation on aesthesis. We survey the roots and relevance of aesthesis as a direct albeit contested relation and engagement with the world and with Others. From its pre-Socratic origins, aesthesis has been both a pragmatic, somatic concept, prompting a re-evaluation of the distinction between experience and abstraction. We trace its ongoing repression from (...) Plato through ‘western’ theories of formal Aesthetics. Drawing on a relational interpretation of Protagoras’ aesthesis, we argue that modern pragmatists and radical empiricists, as well as more contemporary critics of the ‘colonization’ of aesthesis (Mignolo and Vasquez) by formal Aesthetics recognize and develop the relational and ethical aspects of aesthesis. We consider the role of the body, affect, and of the intangible or virtual qualities of aesthesis. The ethics of obligations (Weil) in the polis (Arendt) shows how aesthesis informs politics despite its repression in favour of moral and legal norms. We argue this is relevant to contemporary crises such as xenophobia and ecocidal climate warming. (shrink)

This article reinterprets the Dialectic of Enlightenment as a retelling of the Christian myth of the Fall. Through its account of the aporia, which Horkheimer and Adorno maintain stands at its core, the Dialectic of Enlightenment rearticulates the doctrine of original sin. The human condition is presented as tragic, and the source of this tragedy is inscribed into the very structure of human subjectivity. While the Dialectic of Enlightenment refuses to abandon hope, emancipation is reconceptualised on the model of redemption; (...) a kind of fulfilment of human nature, which would at the same time be an escape from it. Horkheimer and Adorno dispense, however, with any transcendent source of grace. Instead, the activity of philosophy itself takes on redemptive quality. (shrink)

Federated Australia was seen for a long time as a significant social ‘laboratory’. The Commonwealth itself was seen as an ‘experiment’. This widespread metaphor relied on a particular pattern of perception: the country was ‘new’ (it was not), and the country was allegedly isolated (it was not, at least not completely). Many believed that its social environment could be controlled, like that of a scientific laboratory. A laboratory is designed to shut all disturbances out – the value of the data (...) and experiments depends on it. This article outlines this metaphor in the context of Australian history during the 20th century, its rhetorical power and what made it discursively possible. (shrink)

Written in the form of a dialogue with Brussels sociologist Dieter Vandebroeck, this article retraces the social and intellectual trajectory of Loïc Wacquant as stepping stone to reviewing and discussing the major concepts coined and theoretical propositions elaborated in the course of his research on comparative urban marginality, racial domination, the ghetto, the penal state, neoliberalism, and carnality. This provides an opportunity to specify the relationships between ethnography, history and theory; the dialectic of domination and resistance; the role of public (...) (dis)honor in social life; the uses of Bourdieu's bureaucratic field; and the social and academic conditions of incubation, diffusion, and death of scholarly myths such as the “underclass.” The article closes on a call to clearly distinguish the rhetorical, metaphorical, and analytical usages of concepts and reaffirms the need for epistemic reflexivity as sine qua non for the articulation of robust scientific problematics. (shrink)

Can a colonial archive render up form-of-life? To what ends? This essay explores these questions through a methodological exercise that casts a specific historical subject in the role of Giorgio Agamben’s ‘unspeakable girl’. The subject is a woman identified in a 1910 Cape Town police report as a habitual opium smoker. The unspeakable girl is a philosophical construction through which Agamben develops a concept of initiated (or initiating) knowledge. At stake in my forensic re/deconstruction of this case is how a (...) concept of the ‘unspeakable’ may help to unsettle the figure of the ‘addict’ as a stigmatised object of knowledge and paternalism, in service of more humane policy and treatment regimes in the present. The transformative potential of initiating knowledge supports current practice as the ‘come as you are’ motto of harm reduction, and as a bridge between academic analysis and the more intimate concerns of the heart. (shrink)