Approaching this kind of subject implies an exigency of understanding that aims at the conditions of possibility of the status of the modern person. Starting with the Euro- pean Illuminist Age, this is represented by the acknowl- edgment of the other as a person, based on a certain rational conditioning of the community. One should not confine religion to a “black-hole”, by separating it from the political, but should rather try to see the middle-way between the radical solution of (...) atheism, on the one hand, and the legitimating of a political religion, on the other. The second part of this essay is an analysis of the double modern conditioning of art (understood as the expression of the creative faculty): first, of the political aspect of the Modern Age; secondly, of the religious problems connected to politics. Seen as a whole, this area of artistic production implies two types of funda- mental relationships: 1) an analysis of art as the expres- sion of the self and of its status in the world; 2) a direct connection between art and the social and political as- pects of the contemporary age. (shrink)

This book distinguishes 'citizen art' from within the field of social and activist art practices and examines how it performs new modes of citizenship.

This volume brings together essays from distinguished scholars in a variety of disciplines - philosophy, history, literary studies, art history - to explore various ways in which aesthetics, politics and the arts interact with one another. Politics is an elastic concept, covering an oceanic breadth of mechanisms for conducting relations between empowered groups, and these essays offer a range of perspectives, including nations, classes, and gendered subjects, which examine the imbrication of politics with arts. Together they demonstrate the need to (...) counteract the reductionist view of the relationship between politics and the arts which prevails in different ways in both philosophy and critical theory, and suggest that the irreducibility of the aesthetic must prompt us to reconceive the political as it relates to human cultural activity. (shrink)

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

The fragility of democracy and the political aesthetics of public art -- Voices and places: the space of public art and Wodiczko's the homeless projection -- Democracy's "empty place": Rawls's political liberalism and Derrida's democracy to come -- Public art's "plain tablet": the political aesthetics of contemporary art -- Democracy and public art: Badiou and Ranciere -- The political aesthetics of Chicago's Millennium Park -- The political aesthetics of New York's National 9/11 Memorial -- Public (...) art as an act of citizenship -- Badiou on "being and the void.". (shrink)

This book analyzes recent artistic and activist projects in order to conceptualize the new roles and goals of a critical theory and practice of art and photography. Vered Maimon argues that current artistic and activist practices are no longer concerned with the "politics of representation" and the critique of the spectacle, but with a "politics of rights" and the performative formation of shared yet highly contested public domains. The book thus offers a critical framework in which to rethink the artistic, (...) the activist, and the political under globalization. The primary focus is on the ways contemporary artists and activists examine political citizenship as a paradox where subjects are struggling to acquire rights whose formulation rests on attributes they allegedly don't have; while the universal political validity of these rights presupposes precisely the abstraction of every form of difference, rights for all. The book will be of interest to scholars working in art history, contemporary art, photography theory, visual culture, cultural studies, critical theory, political theory, human rights, and activism. (shrink)

This article asserts the significance of the portrayal of the political art of statesmanship as weaving, and aims to show how this image emphasizes two main aspects of the political art of statesmanship. Firstly, the image implies a three-dimensionality, both through the process of weaving and through the thickness of the protective fabric this produces, that in turn indicates the vital aspect of corporeality in politics. Secondly, weaving as a paradigmatic example of the art of statesmanship presents a (...) way of incorporating different entities and joining diverse threads into a cohesive unity, without reducing them to a form of sameness as mere mathematical counting would. These two aspects are in turn connected to an emphasis on the importance in good statesmanship of recognizing the specificity of the occasion and the variety and difference of the innumerable qualities to be interlaced in weaving the fabric of a good society. (shrink)

Memory and the Political Art in Plato's Statesman provides a novel reading of Plato's Statesman, while arguing that the philosophic and practical dimensions of memory create a framework for political life.

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...) transcendent illusion according to which there are more or less fixed characteristics that unify our terms, concepts, and practices in such a way as to guarantee their meaning. Against this substantialist approach, Radical History & the Politics of Art argues for a praxeological account that begins the other way around by analyzing specific cultural practices without presupposing a conceptual unity behind them. Such an orientation is radically historicist in the sense that it recognizes that all of our practices—be they linguistic, theoretical, aesthetic or political—are historically constituted and that they are necessarily part of a temporal dynamic. Hence the contingent nature of the labels used to classify various practices or even identify ‘practice’ as such. Radical history thereby proposes a significant departure from the extant debates on art and politics by maintaining that there is no ‘art’ or ‘politics’ in general, nor a singular relation between them. There are only historically constituted practices in various conjunctures, some of which have been labeled, through practical acts of denomination, as ‘artistic’ or ‘political.’ Instead of proposing one more response to the oft-repeated question ‘what is the relationship between Art and Politics?’ this book seeks to overcome the presuppositions that plague such a question. It thereby changes the very nature of the investigation by asking: ‘how do the diverse aspects of practices identified as ‘aesthetic’ and ‘political’ overlap, intertwine and sometimes merge in precise socio-historical force fields of action? (shrink)

The author of the article discusses a political discourse of the US president Donald Trump. The political discourse is considered to be a type of discourse based on views and beliefs, the purpose of which is to manipulate the consciousness of the addressee using strategies in order to form certain beliefs. The strategy in this case means the plan of implementation of the communicative task, necessary for effective achievement of the addressee’s goal, realized with the help of certain (...) tactics. The choice of the subject matter is determined by the interest to political communication. The author analyses discourse strategies and markers, stylistic and lexico-grammatical means used as manipulative means in Donald Trump’s Acceptance Speech, Victory Speech, and Inaugural Address. Special attention is given to the strategy of improvement, strategy of enhancement, and strategy for evaluation of alternatives. It is known that presidential public addresses are of great importance, therefore communicative skills of politicians and ability to speak in public play a great role in their political career. The analysis of D. Trump’s presidential discourse has revealed the use of discursive manipulative strategies and manipulative markers, numerous repetitions, calls for joint action, the use of ‘unifying vocabulary‘, slogans, inversion. It is noted that the presidential political discourse is an effective means of manipulating the consciousness of the nation and the formation of its outlook. The author concludes that speech manipulation is a complex phenomenon, the effectiveness of which depends on linguistic, psychological, extralinguistic, and social factors. (shrink)

The essays complement one another to provide a tour of the complexities and richness of contemporary modes of critique.

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.

The political media discourse and its pragmalinguistic peculiarities are analyzed in the paper. The choice of the subject matter for the analysis is determined by the interest to media communication. It is noted that the political discourse is one of the effective means of influence on the collective consciousness. Various definitions of the concept ‘discourse‘ are given; special attention is paid to the presidential discourse. Discourse as a communicative event taking place in a social context is based on (...) pragmatic situations and is studied taking into account such factors as a communicative situation, the addresser and the addressee of speech, the content of the communication, the pragmatic meaning of language units. The author analyses compositional, stylistic, and lexico-grammatical means used to create a pragmatic effect in the annual New Year addresses of the President of Russia Vladimir Putin. The effectiveness of presidential discourse is achieved due to the choice of words with positive connotation, the use of repetition, use of personal and possessive pronouns in the first person plural, the use of parallel syntactic constructions, and the use of both formal and informal styles. The author concludes that pragmatic means are of great importance for media discourse studies and presidential public addresses play an important role in shaping the moral values of the nation. (shrink)

NOT SAUSSURE: A CRITIQUE OF POST?SAUSSUREAN LITERARY THEORY by Raymond Tallis London: Macmillan, 1988. 273 pp., £33 (£10.95 paper).

The leading scholars represented in _Politics, Philosophy, Writing_ examine six key Platonic dialogues and the most important of the epistles, moving from Plato's most public or political writings to his most philosophical. The collection is intended to demonstrate the unity of Plato's concerns, the literary quality of his writing, and the integral relation of form and content in his work. Taken together, these essays show the consistency of Plato's understanding of the political art, the art of writing, and (...) the philosophical life. Studies emphasizing the unity of Plato's lifework have given way in recent scholarship to specialized and overspecialized examinations of individual dialogues. While each of the contributors to _Politics, Philosophy, Writing_ studies one text, his or her work is oriented toward illuminating the whole of Plato's project. Each of the essays is an innovative contribution to scholarship on its topic; as a collection, they constitute a unique reading of Plato's political philosophy. Plato scholars have generally divided themselves into two camps: those who concentrate on the analytic or logical aspects of the dialogues, and those who concentrate on the literary-critical features. In one camp are the philologists and classicists, and in the other, the writers of inventive interpretive commentaries. By avoiding distinctions between Plato the poet and Plato the philosopher, _Politics, Philosophy, Writing_ allows a deeper exploration of the comprehensiveness of Plato's theoretical vision and illuminates the lasting challenge of his understanding of the human condition. (shrink)

Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Jacques Rancière shows how the break with the hierarchical conception of time implies a completely different idea of the modern. He sees the fulfilment of this (...) in two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, and exposed the rift between the revolution of artists and that of strategists. (shrink)

A timely interrogation of the concept of 'expertise' in cultural work, exploring the characteristics of aesthetic expertise in the digital age, and its relation to inequalities in the cultural sector.

ABSTRACT This article advances a critical approach to the analysis of social policy texts drawing on the philosophical perspectives of hyperrealism, surrealism, ethics, and Critical Discourse Analysis. Drawing on official government texts and speeches on the continuing development of Singapore’s education policy, the paper examines the way metaphors of flexibility, diversity, choice, and opportunity are used within an evolving ideological context that work to continually produce truth conditions as justifications for inequality. In doing this, the analysis foregrounds a functional aspect (...) of policy metaphors as divisive mechanisms of neo-liberalism through associating individuals with the appearance of discriminatory forms of economic materiality which does not in fact exist in reality. (shrink)

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

Religion is undergoing a transformation in current Western society. In addition to organized religions, there is a notable movement towards spirituality that is not associated with any institutions but in which experiences and notions of transcendence are still important. Transcendence can be described as God, the absolute, Mystery, the Other, the other as alterity, depending on one's worldview. In this book, these shifts in the views of transcendence in various areas of culture such as philosophy, theology, art, and politics are (...) explored on the basis of a fourfold heuristic model (proposed by Wessel Stoker)"--Back cover. (shrink)

Introductory essay / Peter Jones -- The usefulness of the arts and the humanities : the case of Descartes / Gábor Boros -- Roads of remembrance : the treatment of imagination and memory in Gerard's Essay on genius / Zsolt Komáromy -- Diderot's untimeliness / László Kisbali ; transl. Márton Dornbach -- Melody vs. harmony : Rousseau, or, The aesthetics of vowels / Mária Ludassy ; transl. Zsolt Komáromy -- Judgement and taste : from Shakespeare to Shaftesbury / Ferenc Hörcher (...) -- Lord Shaftesbury's "aesthetic freedom" / Endre Szécsényi -- Why one should imitate the Greeks : on Winckelmann / Sándor Radnóti ; transl. Márton Dornbach -- Beauty or beast, or, Monstrous regiments? : Robertson and Burke on women and the public scene / László Kontler -- The concept of nature and the theodicy problem in the Malebranche-Arnauld-Leibniz debate / Dániel Schmal -- Lessing's anti-candide : between reason and revelation / Krisztina Utasi ; transl. Márton Dornbach. (shrink)

How aesthetics—understood as a more encompassing framework for human activity—might become the primary discourse for political and social engagement. These essays make the case for a reignited understanding of aesthetics—one that casts aesthetics not as illusory, subjective, or superficial, but as a more encompassing framework for human activity. Such an aesthetics, the contributors suggest, could become the primary discourse for political and social engagement. Departing from the “critical” stance of twentieth-century artists and theorists who embraced a counter-aesthetic framework (...) for political engagement, this book documents how a broader understanding of aesthetics can offer insights into our relationships not only with objects, spaces, environments, and ecologies, but also with each other and the political structures in which we are all enmeshed. The contributors—philosophers, media theorists, artists, curators, writers and architects including such notable figures as Jacques Rancière, Graham Harman, and Elaine Scarry—build a compelling framework for a new aesthetic discourse. The book opens with a conversation in which Rancière tells the volume's editor, Mark Foster Gage, that the aesthetic is “about the experience of a common world.” The essays following discuss such topics as the perception of reality; abstraction in ethics, epistemology, and aesthetics as the “first philosophy”; Afrofuturism; Xenofeminism; philosophical realism; the productive force of alienation; and the unbearable lightness of current creative discourse. Contributors Mark Foster Gage, Jacques Rancière, Elaine Scarry, Graham Harman, Timothy Morton, Ferda Kolatan, Adam Fure, Michael Young, Nettrice R. Gaskins, Roger Rothman, Diann Bauer, Matt Shaw, Albena Yaneva, Brett Mommersteeg, Lydia Kallipoliti, Ariane Lourie Harrison, Rhett Russo, Peggy Deamer, Caroline Picard Matt Shaw, Managing Editor. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Si l'art n'est pas d'abord considéré en tant que production d'objets mais comme manière d'être au monde, intéressant tout homme et toute société, si la foi n'est pas considérée en tant qu'adhésion intellectuelle aux vérités de la foi, mais comme acte capable d'illuminer et transformer le monde, alors, loin d'être uniquement en rapport d'interaction, d'interdépendance, ou de ressemblance, l'art, la foi et le politique sont une unique réalité vivante. En ce sens, chacune des trois entités sera d'autant mieux comprise et (...) pensée qu'elle sera vue comme l'une des modalités de la même dynamique. Cette thèse se développe en trois étapes éclairant successivement les présupposés de sa démonstration, son effectivité dans la personne individuelle comme dans la société, enfin sa portée programmatique : le monde n'aura d'avenir qu'en assumant le ressort poétique qui le constitue et l'anime depuis le commencement. (shrink)

This book critically examines Leo Strauss s claim that the philosophers of antiquity, especially Plato, wrote esoterically, hiding the highest truths exclusively between the lines.

The Politics of Aesthetics rethinks the relation between art and politics, reclaiming 'aesthetics' from its current narrow confines to reveal its significance ...

In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...) has been largely denigrated within it: namely, that representation fundamentally depends on structural resemblance. Finally, I demonstrate how conceiving of artistic representation as grounded upon structural resemblances, rather than as a mode of meaningful communication, provides us with a more accurate picture of both (a) how music represents and (b) how we perceive and appreciate musical representations. (shrink)

Le présent ouvrage est une lecture généalogique des versions successives de l'interrogation que Heidegger consacra à l'origine de l'œuvre d'art à l'époque de sa compromission la plus manifeste avec le nazisme. Comme cette compromission se déclarait justifiée non par l'idéologie officielle mais par des arguments strictement philosophiques, elle invite à s'enquérir des sources qu'avait pareille justification d'une part dans les travaux antérieurs du philosophe, notamment dans Sein und Zeit, et d'autre part dans la mémoire qu'il avait, immense mais très sélective, (...) de l'histoire de la philosophie depuis les Grecs jusqu'à Nietzsche. Jacques Taminiaux met en contraste deux approches philosophiques de l'art et du politique : l'approche spéculative, celle de Platon chez les Anciens et de Hegel chez les Modernes, et l'approche judicative, celle d'Aristote chez les Anciens et de Kant chez les Modernes. La première approche, célébrée par Heidegger, réserve au philosophe le privilège d'une vue de dernière instance sur l'art et le politique. L'approche judicative, en revanche, dédaignée par le penseur allemand, reconnaît à chacun le droit et la capacité de se prononcer dans ces deux domaines. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as (...) it merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

_Shusterman’s Somaesthetics_ is a wide-ranging collection of penetrating essays by twelve scholars examining in rich detail the many dimensions of philosopher Richard Shusterman’s pragmatism and somaesthetics, complemented by his own chapter of responses to these scholars.

This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...) of representation, such as the one I offer, have been much maligned in philosophy since the 1960s. Most theories assimilate representation under “meaning,” which has usually been thought to belong primarily to language. As a result, representational content has been taken to be purely conventional in the way that sentential meaning is. People want to know what music “means,” and these theories interpret this as “what does it refer to?” or “what propositions does it express?” I argue that propositional communication is only one (small) part of the issue. Once we overcome the bias of conceiving of musical works as essentially linguistic items, speech acts (performed) or sentence tokens (written), we can begin to take music on its own terms to discover how it represents—one way in which it “means.” The first step is to “naturalize” music’s representational content. Influenced by recent discussions in the philosophies of mind and science, I argue in Chapter 1 that composers represent extra-musical objects, events, and states of affairs through their works by exploiting antecedent relations (such as similarities in pitch, timbre, and structure) in order to secure reference to them. In Chapter 2, I survey and respond to the main challenges that those skeptical of music’s representational possibilities would raise against my theory of musical representation. In Chapter 3, I explore a number of ways through which music has been claimed to represent in order to show how my theory accounts for these diverse phenomena better than its conventionalist rivals, both in terms of the metaphysics and the epistemology. Chapter 4 extends this discussion by offering an account of how we perceive, understand, appreciate, and interpret sophisticated musical representations. I conclude by teasing out some of my theory’s implications and suggesting areas for further research. (shrink)

José Ortega y Gasset not only expressed his views on subjects such as art or mass culture but he was also one of the promoters and founders of a United Europe which he considered a cultural unity. However, his view on the proper functioning of multicultural societies was as skeptical as his attitude towards the possibility of constructing an unified world that could be based on cultural coexistence of the Western World societies.

Anyone interested in the philosophy of music, especially popular music, should be familiar with Cristyn Magnus, P.D. Magnus, and Christy Mag Uidhir’s contempora.

_The Politics of Imagination_ offers a multidisciplinary perspective on the contemporary relationship between politics and the imagination. What role does our capacity to form images play in politics? And can we define politics as a struggle for people’s imagination? As a result of the increasingly central place of the media in our lives, the political role of imagination has undergone a massive quantitative and a qualitative change. As such, there has been a revival of interest in the concept of (...) imagination, as the intimate connections between our capacity to form images and politics becomes more and more evident. Bringing together scholars from different disciplines and theoretical outlooks, _The Politics of Imagination_ examines how the power of imagination reverberates in the various ambits of social and political life: in law, history, art, gender, economy, religion and the natural sciences. And it will be of considerable interest to those with contemporary interests in philosophy, political philosophy, political science, legal theory, gender studies, sociology, nationalism, identity studies, cultural studies, and media studies. (shrink)

Film theory and its emphasis on political and ideological readings of films dominated much of cinema studies in the '70s and '80s. Since then, in response to what some view as the shortcomings of theoretical approaches, a variety of other methods have emerged or reemerged. In many ways, as Nico Baumbach argues, "Anti-Grand Theory" has won the day but its victory is, in part, based on misreadings or simplifications of '70s film theory. In particular, Baumbach views contemporary critical approaches (...) to film as abandoning the crucial and productive ways in which theory understands the relationship between cinema, politics, and art. Baumbach does not advocate a return to the orthodoxies of the seventies but rather reads the work of Ranciere, Badiou, and Agamben as providing new ways of thinking about the history of film theory and how film creates its own way of thinking about politics. Moreover, at a time when digital technologies are asking us to think of film and the film image in new ways, the work of these thinkers once again asks, "What is Cinema?" but in a more expansive sense that can help us account for transformations in how moving images are produced, distributed, and exhibited in the twenty-first century. (shrink)

In this book, fourteen international authors across various fields analyze the concept of chiasm and its role in human perception and experience, discussing the work of major philosophers like Merleau-Ponty, Levinas, Derrida, and Deleuze, and adapting their ideas to cultural analysis.

This book’s main claim is that political art should not disregard questions of aesthetic reception and value. It argues that some neglected aspects of traditional aesthetics actually enhance the relationship between art and politics more than contemporary art theorists are keen to admit.

Mobilising International Law for 'Global Justice' provides new insights into the dynamics between politics and international law and the roles played by state and civic actors in pursuing human rights, development, security and justice through mobilising international law at local and international levels. This includes attempts to hold states, corporations or individuals accountable for violations of international law. Second, this book examines how enforcing international law creates particular challenges for intergovernmental regulators seeking to manage tensions between incompatible legal systems and (...) bringing an end to harmful practices, such as foreign corruption and child abduction. Finally, it explores how international law has local resonance, whereby, for example, cities have taken it upon themselves to give effect to the spirit of international treaties that national governments fail to implement, or even may have refused to ratify. (shrink)

Fires burn around the world. Systemic discrimination persists, precarity is increasing, and the modern democratic project faces challenges from all sides. Art writing helps us to understand art which in turn helps us to understand such crises. But art writing itself is in crisis. Newspapers and magazines offer fewer channels than ever for independent art criticism, persistent institutional biases exclude the positions of many, and a proliferation of platforms presents opportunities and challenges in equal measure. This volume presents contributions from (...) a broad range of authors who address the social and political dimensions of art and art writing in the contemporary context, and the ways in which new writing and publishing practices promote critical engagement among readerships as never before"-- Publisher's website. (shrink)