Paradigm – serie

Everywhere anarchism is on the upswing as a political philosophy - everywhere, that is, except the academy. Anarchists repeatedly appeal to anthropologists for ideas about how society might be reorganized on a more egalitarian, less alienating basis. Anthropologists, terrified of being accused of romanticism, respond with silence...But what if they didn't? This pamphlet ponders what that response would be and explores the implications of linking anthropology to anarchism. Here, David Graeber invites readers to imagine this discipline that currently only exists in the realm of possibility: anarchist anthropology.

Reflecting the decline in college courses on Western Civilization, Marshall Sahlins aims to accelerate the trend by reducing "Western Civ" to about two hours. He cites Nietzsche to the effect that deep issues are like cold baths; one should get into and out of them as quickly as possible. The deep issue here is the ancient Western specter of a presocial and antisocial human nature: a supposedly innate self-interest that is represented in our native folklore as the basis or nemesis of cultural order.Yet these Western notions of nature and culture ignore the one truly universal character of human sociality: namely, symbolically constructed kinship relations. Kinsmen are members of one another: they live each other's lives and die each other's deaths. But where the existence of the other is thus incorporated in the being of the self, neither interest, nor agency nor even experience is an individual fact, let alone an egoistic disposition. "Sorry, beg your pardon," Sahlins concludes, "Western civilization has been built on a perverse and mistaken idea of human nature."

Despite mixed critical reception, Stanley Kubrick's 2001: A Space Odyssey mesmerized audiences at the time of its initial screening in 1968 and went on to become one of the highest-grossing films of the decade. In "2001 and Counting", Bruce Kapferer revisits the film, making a case for its continued cultural relevance. While the film's earliest audiences considered it to be a critical examination of European and American realities at the height of the Cold War, Kapferer shows that Kubrick's masterwork speaks equally well to concerns of the contemporary world, including the Iraq War, the 2008 financial crisis, and the material and political effects of neoliberalism. Kapferer explores Kubrick's central themes both with regard to current events and through the lens of Nietzsche's Thus Spoke Zarathustra and the mythical concept of the eternal return.