Benoît Dillet – författare

Written by experts in their field, this Companion surveys the challenges and provocations raised by the major voices of poststructuralism: Foucault, Deleuze, Derrida, Cixous, Lyotard, Guattari, Kristeva, Irigaray, Barthes and Baudrillard. Thematically organised and clearly written, it will guide students and researchers in philosophy, literature, art, geography, politics, sociology, law, film and cultural studies around the nature and contemporary relevance of poststructuralism.

The idea that the world needs to transition to a more sustainable future is omnipresent in environmental politics and policy today. Focusing on the energy transition as a solution to the ecological crisis represents a shift in environmental political thought and action. This Element employs a political theory approach and draws on empirical developments to explore this shift by probing the temporal, affective, and technological dimensions of transition politics. Mobilising the framework of ecopolitical imaginaries, it maps five transition imaginaries and sketches a counter-hegemonic, decolonial transition that integrates decolonial approaches to knowledge and technology. Transition Imaginaries offers a nuanced exploration of the ways in which transition politics unfolds, and a novel argument on the importance of attending to the coloniality of transition politics. A transition to just sustainable futures requires the mobilisation of post-extractivist visions, knowledges, and technologies. This title is also available as Open Access on Cambridge Core.

The idea that the world needs to transition to a more sustainable future is omnipresent in environmental politics and policy today. Focusing on the energy transition as a solution to the ecological crisis represents a shift in environmental political thought and action. This Element employs a political theory approach and draws on empirical developments to explore this shift by probing the temporal, affective, and technological dimensions of transition politics. Mobilising the framework of ecopolitical imaginaries, it maps five transition imaginaries and sketches a counter-hegemonic, decolonial transition that integrates decolonial approaches to knowledge and technology. Transition Imaginaries offers a nuanced exploration of the ways in which transition politics unfolds, and a novel argument on the importance of attending to the coloniality of transition politics. A transition to just sustainable futures requires the mobilisation of post-extractivist visions, knowledges, and technologies. This title is also available as Open Access on Cambridge Core.

This new translation of four revised radio interviews, conducted in December 2002 at France Culture with Élie During, is the best introduction to Stiegler’s Time and Technics series. This collection includes a new interview conducted specially for this volume and an interview with Artpress from 2001.In Philosophising By Accident, Stiegler introduces some of the key arguments about the technical constitution of the human and its relation to politics, aesthetics and economics. He reads philosophical texts from the perspective of his controversial thesis about the three types of memory and speaks about concepts central to his later works, such as synchrony/diachrony, grammatisation and the industrial temporal object.

This new translation of four revised radio interviews, conducted in December 2002 at France Culture with Élie During, is the best introduction to Stiegler’s Time and Technics series. This collection includes a new interview conducted specially for this volume and an interview with Artpress from 2001.In Philosophising By Accident, Stiegler introduces some of the key arguments about the technical constitution of the human and its relation to politics, aesthetics and economics. He reads philosophical texts from the perspective of his controversial thesis about the three types of memory and speaks about concepts central to his later works, such as synchrony/diachrony, grammatisation and the industrial temporal object.

This book studies the tension between arts and politics in four contemporary artists from different countries, working with different media. The film directors Luc and Jean-Pierre Dardenne film parts of their natal city to refer to specific political problems in interpersonal relations. The novelist Arundhati Roy uses her poetic language to make room for people’s desires; her fiction is utterly political and her political essays make place for the role of narratives and poetic language. Ai Weiwei uses references to Chinese history to give consistency to its ‘economic miracle’. Finally, Burial’s electronic music is firmly rooted in a living, breathing London; built to create a sound that is entirely new, and yet hauntingly familiar. These artists create in their own way a space for politics in their works and their oeuvre but their singularity comes together as a desire to reconstruct the political space within art from its ruins. These ruins were brought by the disenchantment of 1970s: the end of art, postmodernism, and the rise of design, marketing and communication. Each artwork bears the mark of the resistance against the depoliticisation of society and the arts, at once rejecting cynicism and idealism, referring to themes and political concepts that are larger than their own domain. This book focuses on these productive tensions.

This book studies the tension between arts and politics in four contemporary artists from different countries, working with different media. The film directors Luc and Jean-Pierre Dardenne film parts of their natal city to refer to specific political problems in interpersonal relations. The novelist Arundhati Roy uses her poetic language to make room for people’s desires; her fiction is utterly political and her political essays make place for the role of narratives and poetic language. Ai Weiwei uses references to Chinese history to give consistency to its ‘economic miracle’. Finally, Burial’s electronic music is firmly rooted in a living, breathing London; built to create a sound that is entirely new, and yet hauntingly familiar. These artists create in their own way a space for politics in their works and their oeuvre but their singularity comes together as a desire to reconstruct the political space within art from its ruins. These ruins were brought by the disenchantment of 1970s: the end of art, postmodernism, and the rise of design, marketing and communication. Each artwork bears the mark of the resistance against the depoliticisation of society and the arts, at once rejecting cynicism and idealism, referring to themes and political concepts that are larger than their own domain. This book focuses on these productive tensions.