Essays explore the significance of Julia Kristeva’s concept of intimate revolt for social and political philosophy. Over the last twenty years, French philosopher, psychoanalyst, and novelist Julia Kristeva has explored how global crises threaten people’s ability to revolt. In a context of widespread war, deepening poverty, environmental catastrophes, and rising fundamentalisms, she argues that a revival of inner psychic experience is necessary and empowering. “Intimate revolt” has become a central concept in Kristeva’s critical repertoire, framing and permeating her understanding of (...) power, meaning, and identity. New Forms of Revolt brings together ten essays on this aspect of Kristeva’s work, addressing contemporary social and political issues like immigration and cross-cultural encounters, colonial and postcolonial imaginations, racism and artistic representation, healthcare and social justice, the spectacle of global capitalism, and new media. Sarah K. Hansen is Assistant Professor of Philosophy at California State University, Northridge. Rebecca Tuvel is Assistant Professor of Philosophy at Rhodes College. (shrink)

Let me begin by repeating two well-known features of critical realism. First, the core objective of the human species – it’s moral truth, is a sustainable, diversified global society in which the f...

This paper sets out to reimagine education through a cultural perspective and explores education as a performative practice that establishes certain borders of ‘public’ belonging. Wide-spread debates about the public dimension of schools and universities have focused on how economic rationales need to be replaced with alternative visions of education. This paper seeks to contribute to this revisioning of the public in education by reclaiming education as a specifically cultural endeavour, one tied to practices that are at once both performative (...) and aesthetic. To this end, I draw on theoretical notions of publicity that highlight its performative character. I then offer a reading of a socially engaged art project in order to suggest ways in which this performative character of publicity can be seen to be educational. This paper argues that education itself emerges through various cultural enactments that delineate the contours of who counts as a public and who does not. (shrink)

:This article analyses some of the aesthetic and philosophical strands of Lars von Trier's Melancholia, focusing in particular on the film's remarkable Prelude, arguing that it performs a complex ethical critique of rationalist optimism in the guise of a neo-italictic allegory of world-destruction. At the same time, I suggest that Melancholia seeks to “work through” the loss of worlds – cinematic but also cultural and natural – that characterises our historical mood, one that might be described as a deflationary apocalypticism (...) or melancholy modernity. From this perspective, Melancholia belongs to a genealogical lineage that links it with two earlier films important for von Trier: Ingmar Bergman's Shame [Skammen] and Andrei Tarkovsky's The Sacrifice . All three films share a concern with apocalypticism, world-sacrifice, and historical melancholia; but they also explore different responses to the imagined experience of a catastrophic loss of world. By examining these films in relation t.. (shrink)

This paper argues that the AI ethics has generally neglected the issues related to the science communication of AI. In particular, the article focuses on visual communication about AI and, more specifically, on the use of certain stock images in science communication about AI — in particular, those characterized by an excessive use of blue color and recurrent subjects, such as androgyne faces, half-flesh and half-circuit brains, and variations on Michelangelo’s The Creation of Adam. In the first section, the author (...) refers to a “referentialist” ethics of science communication for an ethical assessment of these images. From this perspective, these images are unethical. While the ethics of science communication generally promotes virtues like modesty and humility, similar images are arrogant and overconfident. In the second section, the author uses French philosopher Jacques Rancière’s concepts of “distribution of the sensible,” “disagreement,” and “pensive image.” Rancière’s thought paves the way to a deeper critique of these images of AI. The problem with similar images is not their lack of reference to the “things themselves.” It rather lies in the way they stifle any possible forms of disagreement about AI. However, the author argues that stock images and other popular images of AI are not a problem per se, and they can also be a resource. This depends on the real possibility for these images to support forms of pensiveness. In the conclusion, the question is asked whether the kind of ethics or politics of AI images proposed in this article can be applied to AI ethics tout court. (shrink)

Following media-theoretical studies that have characterized digitization as a process of all-encompassing cybernetization, this paper will examine the timely and critical potential of Günther Anders’s oeuvre vis-à-vis the ever-increasing power of cybernetic devices and networks. Anders has witnessed and negotiated the process of cybernetization from its very beginning, having criticized its tendency to automate and expand, as well as its circular logic and ‘integral power’, including disruptive consequences for the constitution of the political and the social. In this vein, Anders’s (...) works, particularly his magnum opus Die Antiquiertheit des Menschen [The Obsolescence of Man], sheds new light on the technologically organized milieus of the contemporary digital regime and also highlights a new form of cybernetic ‘conformism’. The goal of the essay is therefore, not only to emphasize the contemporary nature of Anders’s thought but also to use it to frame a critique of current neo-technocratic and, ultimately, post-political concepts, such as ‘algorithmic regulation’, ‘smart states’, ‘direct technocracy’, and ‘government as platform’. This essay argues that cybernetic capitalism is causing what Anders terms ‘ Unfestgelegtheit’ to disappear; that is, we are losing the originary possibility of technologically structuring our world in alternative ways, particularly given the determinist character of current technologies. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)

In this paper, I argue that we need to re-address the issue of freedom as it relates to democracy and critical practice. My argument is drawn out of Derrida's deconstructive reading of Jean-Luc Nancy's The Experience of Freedom which proposes freedom in ontological terms as an experience of indeterminate openness that must be thought prior to any freedom of the self. I show how Derrida's reading of Nancy's text is itself a re-enactment of the freedom that Derrida finds wanting in (...) Nancy's text, but which, by that very fact, affirms the power of critique in its capacity to think freely. The urgency of the thought of freedom is not something that can be avoided, but is itself the fact of critique in its thinking of democracy as a possibility, as something that might come about, as distinct from an already accomplished idea. To think in this way is, I argue, a matter of virtue, that is, of being free, as the virtue of critique and its capacity to act decisively, thereby bringing something forth by risking what it already is, in the absolute possibility of it not being. (shrink)

Theorists, who broadly subscribe to Claude Lefort’s characterization of democracy as the dissolution of the markers of certainty, disagree over the proper enactment of democracy. In this article, I consider the possibility of narrowing the gap by attending to the ignorance advocated by each of the two approaches – the disruptive radical route Jacques Rancière describes and the reformist approach of Richard Rorty. I highlight the attributes and shortcomings of the positive link between practices of ignorance and democracy in the (...) work of the two theorists, and explore how the practices they describe can complement each other in the enactment of democracy. (shrink)

The article presents an introduction to the Special Issue on the French philosopher Jacques Rancière who raises a provocative voice in the current public debate on democracy, equality and education. Instead of merely criticizing current practices and discourses, the attractiveness of Rancière's work is that he does try to formulate in a positive way what democracy is about, how equality can be a pedagogic or educational (instead of policy) concern, and what the public and democratic role of education is. His (...) work opens up a space to rethink and to study, as well as to ‘re-practice’, what democracy and equality in education are about. He questions the current neutralisation of politics that is motivated by a hatred of democracy. This questioning is for Rancière also a struggle over words. Against the old philosophical dream of defining the meaning of words, Rancière underlines the need for the struggle over their meaning. The aim of the article is to clarify how and why education, equality, and democracy are a major concern throughout his work and to offer an introduction to the articles collected in the Special Issue. (shrink)

This essay investigates thought as an event of “multiplicity.” French philosophers Gilles Deleuze and Alain Badiou pose this as a concept of change (political and otherwise). Both philosophers propose that multiplicity means thinking happens as an event by engaging a theoretical impasse, or “un-thought.” Un-thought opens up and changes ideas into complex varieties or multiplicities. This dynamic is examined through the example of May ‘68, an actual event that gives context to how multiplicity expresses “radical change.” The aim of this (...) article is to see how both thinkers’ theories overlap. For Badiou, multiplicities are “truths” that happen whilst making a decision, engaging a notion of “point.” For Deleuze, multiplicities are concepts that happen materially in life as metaphysical forces, or “lines.” Multiplicity is critically approached as a complex variety of ideas that change in the forms of art, politics, and science. (shrink)

This article focuses on Jacques Rancière’s reflections on Alfredo Jaar’s The Rwanda Project in the context of wider discussions of the politics of naming the dead. Against the claim that his reflections reveal a depoliticizing, universalist commitment to naming all the dead, it contends that foregrounding the relation between naming and counting in this discussion shows Rancière’s focus to be the policing and politics of naming. In an original argument, it focuses specifically on how, for Rancière, in this context, individualized (...) proper names function politically and dissensually. To do so it explores Rancière’s analysis of the role of the mainstream media during the Rwandan genocide in perpetuating the police order which divided nameable individuals from anonymous masses, thereby constituting living and dead Rwandans as of little or no account, and his account of how Jaar’s art is able to disrupt the ‘partition of the sensible’ underpinning this count. The article concludes by considering how Rancière’s ideas about the relationship between naming and counting and between politics and police serve as a useful supplement to and extension of existing discussions of grievability. (shrink)

This paper raises the question whether language and violence are internally connected. It starts from the experience of violence and from its theoretical interpretation as violence in the context of political forms of life which are challenged by complaints about violence. Such forms of life have to confront this issue because they are supposed to be responsive to claims and demands of others who articulate violence as an experience of violation. Whether a kind of responsive ethos may be based on (...) the suspected inner connection between language and violence is being discussed at the end. (shrink)

This paper raises the question whether language and violence are internally connected. It starts from the experience of violence and from its theoretical interpretation as violence in the context of political forms of life which are challenged by complaints about violence. Such forms of life have to confront this issue because they are supposed to be responsive to claims and demands of others who articulate violence as an experience of violation. Whether a kind of responsive ethos may be based on (...) the suspected inner connection between language and violence is being discussed at the end. (shrink)

Although there is ample interrogation of advertising/commercial/media culture in critical pedagogy, there is little attention paid to the fine arts and to aesthetic experience. This lacuna is all the more perplexing given Paulo Freire’s use of artist Francisco Brenand’s illustrations for his culture circles. In this essay I will return to Freire’s original description of the relationship between fine art images and conscientizacao in order to map out the future of the image in critical pedagogy. This return to the origin (...) of the use of images in literacy programs will highlight the interdependent nature of word and image but also will demonstrate some of the long standing misconceptions of the way fine art images function in relation to education and politics. In conclusion I will suggest that if images have a future in critical pedagogy, then this future must ultimately move beyond Freire. As an alternative genealogical anchoring point for the development of the aesthetics of critical literacy, I suggest a turn to the work of Jacques Rancière. Through his conceptualization of the “pensive image” as well as the “emancipated spectator” we can begin to understand how the fine art image can work to realize Freire’s democratic ideals without relying on Freire’s problematic formulation of the image-pedagogy relationship. In conclusion, I suggest that the philosophical model necessary to support critical literacy is not Freire’s culture circle so much as Kant’s aesthetic community now revitalized via Rancière’s own aesthetics of dissensus. (shrink)

The role and function of public art is currently undergoing some large-scale changes. Many new artworks which are situated within the already existing urban sphere, seem to be changing the definition of public art, each in their own way. Simultaneously, there exists a trend that endorses more traditional forms of public art. Juxtaposing and comparing the aesthetic implications of different types of artworks, it is possible to see how they contribute to the contemporary understanding of the urban sphere. In this (...) paper, I take a look at the explicit and implicit aesthetic values that these simultaneously existing contemporary forms of public art are based on. The cases selected for closer look are examples of prominent and recent works of public art from downtown Helsinki: He who Brings the Light by Pekka Kauhanen and Running Man by Nestori Syrjala. What space and what kind of position is subscribed to the perceiver by these very different types of yet equally established artworks? What kind of experiences and possibilities of participation do these works entail? The focus is on the undergoing redefinition of public art that revolves around these questions. (shrink)

Devin Zane Shaw’s new book Egalitarian Moments is an attempt to think with and through Jacques Rancière. Shaw’s highly original interpretation of Rancière opens space within Rancière’s thought for a new, expanded account of the politics of art and literature, and Shaw is then able to use this theory as a way of rereading the history of philosophy. Shaw’s project is ultimately an attempt to show that it is possible to do philosophy in an egalitarian way – that not all (...) political philosophy need be “political philosophy” in Rancière’s pejorative sense – and that philosophy can serve as a vital resource for egalitarian political movements. (shrink)

Jacques Rancière’s work has become a major reference point for discussions of art and politics. However, while Rancière’s negative theses are becoming widespread and well understood, his positive thesis is still poorly understood, owing partly to Rancière’s own formulation of the issue. I first clarify Rancière’s account of the links between politics and art. I then explore a gap in this account; Rancière has stuck too closely to a politics of art’s reception. I argue for a politics of art production, (...) which would expand the possible engagement between politics and art. (shrink)

In this response paper I defend an alternative position to both Jennifer McMahon’s neo-Kantian view on the aesthetics of perceptual experience, and the sense-data theory that she rightly repudiates. McMahon argues that sense perception is informed by concepts “all the way out,” and that the empiricist notion of unmediated sensuous access to entities in the world is untenable. She further claims that art is demanding inasmuch as it compels one to engage in an open-ended, cognitive interpretive process with sensuous phenomena, (...) and that it is this very process that opens up a space for critique of the entrenched representational concepts by which we navigate the world. In contrast, I argue that the sensuous itself is a source of demand. Perceptual objects, in virtue of their material constitution, are inexhaustible plexuses of meaning that demand a kind of sensuous, interpretive response on the part of our bodily posture and orientation. Works of art offer opportunities for critique insofar as they reveal dimensions of sensuous reality hitherto covered over by status quo conceptual distributions. McMahon is right that sensuous objects are never simply given. But, I claim, she is wrong to suggest that it is only by way of conceptual mediation that we make contact with the world. On the contrary, the sensuous self-presentation of things is always at the same time a demand on our sensory apparatus that resists encapsulation by concepts. (shrink)

The Repeal campaign articulated new and transformative relationships between law, reproduction and the political in Ireland. During the campaign, ordinary people took ownership of and participated in mutual teaching and critique of law on a wide scale. Art, along these lines, was often used to document and archive the injustices worked by the 8th Amendment. However, art also became a means of imagining law otherwise. In this piece, I use Jacques Rancière’s work on the relationship between aesthetics and politics to (...) analyse artistic contributions to feminist legal discourses associated with Repeal. (shrink)

This article examines Rancière’s political reading of aesthetics through a historical analysis into the two aesthetic theories of freedom at work in Rancière’s philosophy; Kant’s freedom as self-governance and Schiller’s freedom as harmony. While aesthetic experience is considered morally conducive through its association with freedom, this article argues that Rancière translates such discussions of freedom into that of equality by extracting the political dimensions of aesthetic experience. Given that art has the unique ability to empower the spectator through its aesthetic (...) experience of equality, the true political potential of art arises from its power to redistribute the sensible rather than through the overt expression of political themes. By juxtaposing Rancière’s politics of art with Kant’s beauty as the symbol of morality, this article argues that art becomes a symbol of political emancipation for Rancière in its capacity to generate the experience of equality. Inasmuch as Rancière attributes the aesthetic revolution to the eighteenth century, it becomes evident that the empowerment of the spectator has been central to art since the inauguration of the aesthetic regime. (shrink)

This article aims at theorizing a creative and processual theory of non-heterosexual identity. It will be argued that, so far, scholars have tended to theorize non-heterosexual identity from a monologic perspective, which establishes one-sidedly a casual and/or unproblematic relation between the emergence of forms of psychological suffering and the development of a non-heterosexual identity. Although it must be recognized that such a claim is important at a political level, at a subjective level, it leaves non-heterosexual people destined to be flooded (...) by distressing and painful emotional states. To counter monologism within theorisations of non-heterosexual identity development, without ignoring the negative impacts of heteronormativity, it will be argued that non-heterosexual identity needs to be theorized 1) as part of a creative process situated in a specific sociohistorical context marked by heteronormativity, 2) as part of a situated process that produces and never ceases to produce multiple effects (self-states), which are unified to create an identity, and 3) as part of a situated process of creation that can be artificially transformed through art. These are the three claims that will move forward the argument of this article. (shrink)

Currently, affect and emotions are a widely discussed political topic. At least since the early 1990s, different disciplines—from the social sciences and humanities to science and technoscience—have increasingly engaged in studying and conceptualizing affect, emotion, feeling, and sensation, evoking yet another turn that is frequently framed as the “affective turn.” Within queer feminist affect theory, two positions have emerged: following Eve Kosofsky Sedgwick's well-known critique, there are either more “paranoid” or more “reparative” approaches toward affect. Whereas the latter emphasize the (...) potentialities of affect, the former argue that one should question the mere idea of affect as liberation and promise. Here, I suggest moving beyond a critique or celebration of affect by embracing the political ambivalence of affect. For this queer feminist theorizing of affective politics, I adapt Jacques Rancière's theory of the political and particularly his understanding of emancipation. Rancière takes emancipation into account without, however, uncritically endorsing or celebrating a politics of liberation. I draw on his famous idea of the “distribution of the sensible” and reframe it as the “distribution of emotions,” by which I develop a multilayered approach toward a nonidentitarian, nondichotomous, and emancipatory queer feminist theory of affective politics. (shrink)

Art’s Way Out invites readers to examine how what we call “art” enters a conditioned relationship with the polity that leaves the occasion of education and the condition of culture in a quandary that is at best inept and at worse oppressive. There are two reasons for this: because any relationship between art and education is aporetic by dint of how they have emerged in between their respective autonomous and heteronomous forms of being and knowing; and because in the volatility (...) of representation, any cultural and educational conditioning is bound to vacillate between the same teleological states by which expressions of a political objective find themselves bookended by fascism .This is often overlooked by the constructivist expectations that are commonly invested in art and education. Moreover, any crossing of art with philosophy is bound to fall foul of the excessive desires that we project on them. This has nothing to do w .. (shrink)

In her video and sound art practice, artist Shona Illingworth has extensively engaged with atmospheric environments as they are experienced physically and affectively. In the a multi-screen and sound installation, Topologies of Air, Illingworth addresses the conditions and discourses that define today’s perception and understandings of airspaces. This article closely examines Topologies of Air and further relates it to Illingworth’s art research practice, outlining key features and methodologies to argue that Illingworth’s decentralised approach to airspaces is rooted in an ethics (...) of air that fosters empathic understanding. This is congruent with the aim of proposing a new human right on the freedom to live without threats from above put forward through the Airspace Tribunal, an integral component of Illingworth’s project that she has developed in collaboration with human right expert, Nick Grief. (shrink)

This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...) also suggests how communities can reconstitute themselves on the horizon of aesthetic dissolution; so that, finally, (iv) art can be reconceived as a emancipatory adventure that redefines metaphysics through its historical unfolding as an unending series of semiotic transformations. (shrink)

This paper approaches Badiou’s essay, ‘Dance as a Metaphor for Thought,’ on its own terms, considering its stated approach and central claims. This is in order to avoid the indignant tone of some responses from the field that desire other approaches to philosophy’s engagement with dance. Badiou’s project in ‘Dance as a Metaphor for Thought’ is antithetical to my own current, advocatory research, thus offering an adversary of sorts. If it is the case that dance is ‘instrumental’ for the art-philosophy (...) schema that Badiou is formulating, that is, being ‘incorporated’ into the strategies of a philosophy of art, what’s in it for dance? Can Badiou’s project be repurposed for our own disciplinary concerns? For instance, if his conception of dance is seen as lacking from a disciplinary perspective, then what is the idea of dance that positions his as ‘wrong’? (shrink)