Experiments/On the Political – serie

In the wake of new far-right populisms, the fragmentation of progressive global narratives and the dismantling of economic globalization, there are signs that neoliberalism is beginning to enter its death throes. Using 1968 as one of the inaugural moments of neoliberalism, this interdisciplinary collection is a critical and comparative resource that reexamines the significance and legacy of the global 1968 uprisings from today’s vantage point. For scholars and students alike, this interdisciplinary collection will help readers understand why the global uprisings of 1968 continue to resonate and what it means for theory and culture today.

Every politics is an aesthetic. If necropolitics is the (accelerated) politics of what is usually referred to as the ‘apolitical age’, what are its manoeuvres, temporalities, intensities, textures, and tipping points? Bypassing revelatory and reconstructionist approaches – the tendency of which is to show that a particular site or practice is necropolitical by bringing its genealogy into evidence – this collection of essays by artist-philosophers and theorist curators articulates the pre-perceptual working of necropolitics through a focus on the senses, assignments of energy, attitudes, cognitive processes, and discursive frameworks.Drawing on different yet complementary methodologies (visual, performance, affect, and network analysis; historiography and ethnography), the contributors analyse cultural fetishes, taboos, sensorial and relational processes anchored in everyday practices, or cued by specific artworks. By mapping the necropolitics’ affective cartography, they expand the concept beyond its teleological, anthropocentric, and reductive horizon of ‘making and letting die’ to include posthuman and posthumous actants, effectively arguing for the necropolitics’ transformatory, political potential.

Friend, enemy; loyalist, traitor: politics today seems caught in the grip of a binary reduction machine. Bidding us either with or against our neighbors as though we were already combined in, and owed allegiance to, mutually external, nameable collective entities - ‘communities’, ‘nations’, ‘races’ – denominations in general. Beginning with an examination of processes (‘routines’) of denomination in Northern Ireland, Maurice Macartney examines the era of Empire and enslavement to show that similar processes were at work then in ‘viceregally’ arranged structures for the authorization and organization of the violence of hostility and of indifference to the suffering of others.Macartney then brings the analysis up to date, arguing that the hostility of populism and the indifference of the global market overlap to intensify the violence unfolding today. Finally, taking seriously the Copernican revolution of nonviolence, for which the enemy is not ‘the enemy’, but violence itself, the book calls for a different kind of combination, for the coming together of a ‘community of others’, commoners on the one common, working, for all our differences, toward the democratic empowerment of everyone in the neighborhood, in an equitable, sustainable, ‘neighborhood democracy’ that would open beyond hostility, beyond denomination, beyond all boundaries.

The Politics of Authenticating: Revisiting New Orleans Jazz sets forth an entirely new approach to the study of authenticity, based not upon a search for finding the ‘true’ meaning of the concept or ‘unmasking’ its claims. Rather, it details a grounded theory of ‘authenticating’ as a basic socio-political process, important in understanding the origins, development and consequences of competing knowledge claims in diverse areas of human experience and activity over time and place. The book is part jazz historiography, part autoethnography, and part memoir. It details Richard Ekins revisiting of the quest for authenticity in the social worlds of international New Orleans revivalist jazz from the early 1960s onwards, from his standpoint as a social constructionist social scientist and cultural theorist. The book grew out of a series of long, detailed conversations between Ekins and his interlocutor (Robert Porter) and captures the energy and dynamism of these exchanges in the writing of the text, providing what the authors call a ‘riff methodology’ that might be drawn on by other scholars concerned to write books that revisit aspects of their personal and professional lives.

Home is a word brimming with emotion, expectation and contradiction. It is where love and comfort are sought, yet it can also feel oppressive or unreachable. Subversive Mothers, Disturbing Domesticity unpacks the many dimensions of what it means to inhabit this space – physically, emotionally, and socially. Is home a sanctuary, a workplace, or a battleground for equality? Far from a simple haven, home carries the weight of invisible labor, tension, and even danger. It is shaped by routines and rhythms, often dismissed as mundane or unproductive, yet requiring vast effort. Through engaging with these complexities, this book challenges the simplistic binaries that reduce home to a private, insignificant space.By turning towards the discomfort produced by our encounters there with dirt, disorder, and ambiguity – aspects most associated with mothers and domestic work – we uncover how home embodies power dynamics and acts of resistance. Subversive Mothers, Disturbing Domesticity invites readers to rethink this deeply familiar yet elusive space, recognizing the hidden histories, emotions, and struggles that exist within its walls. Thoughtful and compelling, it sheds light on why home is never just a place, but a profound experience that both shapes us and is shaped by us.

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.

Throughout history, comedians and clowns have enjoyed a certain freedom to speak frankly often denied to others in hegemonic systems. More recently, professional comedians have developed platforms of comic license from which to critique the traditional political establishment and have managed to play an important role in interrogating and mediating the processes of politics in contemporary society.This collection will examine the questions that arise when of comedy and critique intersect by bringing together both critical theorists and comedy scholars with a view to exploring the nature of comedy, its potential role in critical theory and the forms it can take as a practice of resistance.

Are we doomed to construct reality with the language of being and individuality? Autós shows a different perspective by reconsidering the European textual production of individuals. Its narration progresses in reverse chronological order to escape teleology: it goes from the modern atomized and self-sufficient subject to her immediate precursor, namely, the isolated faithful of Reformation theology, and to the amazing proliferation of medieval bodies, after the Late Antique narrow individuation of the Christian persona. Roman law mostly escapes the latter’s definitional approach, which first appears in Greek speculation: here, the vocabulary of being and identity takes shape, as exemplified by the new Platonic deployment of the word autós, which has both the sense of ‘same’ and ‘self.’ The Homeric epic instead shows us a discursive regime that precedes the invention of body, mind, being, and self. Taking further old and new examples, the book seeks to provincialize the technologies of the self through a new vocabulary of incorporation, whose sphere of action is not the being of entities, but the performing of practices.

Every politics is an aesthetic. If necropolitics is the (accelerated) politics of what is usually referred to as the ‘apolitical age’, what are its manoeuvres, temporalities, intensities, textures, and tipping points? Bypassing revelatory and reconstructionist approaches – the tendency of which is to show that a particular site or practice is necropolitical by bringing its genealogy into evidence – this collection of essays by artist-philosophers and theorist curators articulates the pre-perceptual working of necropolitics through a focus on the senses, assignments of energy, attitudes, cognitive processes, and discursive frameworks.Drawing on different yet complementary methodologies (visual, performance, affect, and network analysis; historiography and ethnography), the contributors analyse cultural fetishes, taboos, sensorial and relational processes anchored in everyday practices, or cued by specific artworks. By mapping the necropolitics’ affective cartography, they expand the concept beyond its teleological, anthropocentric, and reductive horizon of ‘making and letting die’ to include posthuman and posthumous actants, effectively arguing for the necropolitics’ transformatory, political potential.

The politics of everyday life is to be found, time and again, in meandering movements, in making connections across and between things in the rough and tumble of the seemingly banal, fragmentary and quotidian experiences that make up our day-to-day existence. The key point of the book, ideally as well as practically, is to realize that there may be something potentially significant, and politically significant, in the very act of making such connections, of understanding the supposedly trite and trivial world of the everyday against a broader political backcloth. There is merit in sifting the fragments, the fragmentary experiences, of everyday life in order to see how they imply a broader political totality in which they are situated and, at times, cleverly made to function. This intuition, broadly inspired by Henri Lefebvre, is reflected in and through the various and varying ways Porter puts to work the ideas and provocations of thinkers such as Raoul Vaneigem, Gilles Deleuze, and Soren Kierkegaard.

The politics of everyday life is to be found, time and again, in meandering movements, in making connections across and between things in the rough and tumble of the seemingly banal, fragmentary and quotidian experiences that make up our day-to-day existence. The key point of the book, ideally as well as practically, is to realize that there may be something potentially significant, and politically significant, in the very act of making such connections, of understanding the supposedly trite and trivial world of the everyday against a broader political backcloth. There is merit in sifting the fragments, the fragmentary experiences, of everyday life in order to see how they imply a broader political totality in which they are situated and, at times, cleverly made to function. This intuition, broadly inspired by Henri Lefebvre, is reflected in and through the various and varying ways Porter puts to work the ideas and provocations of thinkers such as Raoul Vaneigem, Gilles Deleuze, and Soren Kierkegaard.

A Materialist Theory of Justice offers an innovative (re)reading of justice that draws from diverse theoretical currents, tracing in the process an age-old tradition of critical thought. Raising the banner of materialism against idealist conceptions, justice is conceived as a multiple process, which emerges in the dynamic reproduction and interaction of material bodies. Mapping out its presence on non-human fields, justice is then shown to attain in human beings the status of a contentious problem and a productive desire, which is related to the pursuit of a good life and is also determinative of human history. The theorization enlarges the scope of the notion by incorporating a wide spectrum of phenomena, from animal forms of sociality and activity, to revolution, empire, civil war up to and including the riots that spread out in the world today. In this way, the book also manages to extend beyond the disciplinary boundaries of normative political theory, within which theories of justice are usually logged, and enter a productive discussion with various currents of critical thought.

Home is a word brimming with emotion, expectation and contradiction. It is where love and comfort are sought, yet it can also feel oppressive or unreachable. Subversive Mothers, Disturbing Domesticity unpacks the many dimensions of what it means to inhabit this space - physically, emotionally, and socially. Is home a sanctuary, a workplace, or a battleground for equality? Far from a simple haven, home carries the weight of invisible labor, tension, and even danger. It is shaped by routines and rhythms, often dismissed as mundane or unproductive, yet requiring vast effort. Through engaging with these complexities, this book challenges the simplistic binaries that reduce home to a private, insignificant space.By turning towards the discomfort produced by our encounters there with dirt, disorder, and ambiguity - aspects most associated with mothers and domestic work - we uncover how home embodies power dynamics and acts of resistance. Subversive Mothers, Disturbing Domesticity invites readers to rethink this deeply familiar yet elusive space, recognizing the hidden histories, emotions, and struggles that exist within its walls. Thoughtful and compelling, it sheds light on why home is never just a place, but a profound experience that both shapes us and is shaped by us.