Jacques Rancière | Identifications of the People

The people has always been a double figure. At the time of the French revolution, it emerged in the opposition between subject of sovereignty and actual population: miserable people or ignorant and fanatic populace. But this duality is still much older. Aforetime the demos in Athens referred to both the sovereign people of the Assembly and the clutter of common people. Democracy is first of all a sobriquet invented by the Athenian elites to designate this inconceivable government of common people. Each time the people is declared sovereign, the same fundamental paradox, under diverse forms, makes the scene. […]

Sergei Eisenstein | Notes for a Film of ‘Capital’

October 12, 1927. It’s settled: we’re going to film CAPITAL, on Marx’s scenario—the only logical solution. N.B. Additions . . . those are clips pasted to the wall of montage. October 13, 1927. . . . To extend the line (and to explicate it, step by step) of dialectical development in my work. Let us recall: 1. STRIKE. The order—educational and methodological film on the methods and processes of class and of underground work. Whence—serial film structure and detachment from a specific place (in the project there’s a whole series of escapes, prison life, rebellion, body-searchers, etc.). 2. POTEMKIN. I’m emphasizing,…

‘JEDE REVOLUTION IST EIN WÜRFELWURF’ / EVERY REVOLUTION IS A THROW OF DICE

  ENGLISH TRANSLATION BY DAVID VICHNAR ALIENIST 7   1   Die Geschichte eines Typen der Kassiber für Pierre Goldman, Ulrike Meinhof und Toni Negri schmuggelt 2   Kein Schibboleth, das ihm nicht über die Lippen käme, ein linguistisches Chamäleon, mal Jude, dann wieder Anarchist 3   Von den ersten Gesetzen der Könige und Propheten (sowie der Gefängnisinsassen) bis in die Gegenwart sind Mauern und Wände das Fundament politischer Botschaften 4   Er glaubt an die Dichtung, aber die Dichtung ist unzulässig Im übrigen gibt es sie nicht 5   Der Text ist ohne Geheimnis Chaotisch und delirant 6  Eine…

Velimir Khlebnikov | The Law of Generations

    Autobiographical Note   I was born on October 28, 1885, in the camp of Mongolian Buddhist nomads—Khanate Headquarters in the steppe—the dried bottom of a vanished part of the Caspian (the sea of 40 names). During Peter the Great’s travels on the Volga, an ancestor of mine presented him with a goblet of coins gotten by brigandage. I have Armenian blood i my veins (the Alabors), also Cossack blood (the Verbitskys), whose special nature is evident in the fact that Przhewalski, Mikluktha-Maklai and other explorers were descendants of the children of the Sech. I belong to the place…

Aimé Césaire | Resolutely Black | Conversations with Françoise Vergès

  Césaires Relevance Today Reading Césaire today encourages reexamination of the notion of race and the role it has played in French thought. In particular, it encourages a reexamination of the place of le nègre, to use Césaire’s term, in our conception of race. French universalism vehemently rejects any attempt to distinguish groups according to their ethnic and cultural origins. In its very refusal to recognize what makes people different, this universalist position sees itself as charitable. Stripped of distinctions, everyone is equal. But history is stubborn, serving as a constant reminder that ideals often fall short, and that more…

“Ardent Hope” – Interview with Jean-Luc Godard – Cahiers du cinéma

Source: KINO SLANG   JEAN-LUC GODARD:  …we’re not going to talk about the Théâtre des Amandiers. I’ve no idea what happened there. Nicole Brenez is taking care of it. I wanted to see you, actually. It’s a bit like seeing the great grandchildren of Cahiers du cinéma. I was curious to see what became of them. CAHIERS DU CINÉMA: We were very moved, stunned even, by the film at Cannes, especially the whole ending with “ardent hope” that gave a meaning to this journey through the ruins. The entire first section on the eternal remake of war, then Joseph de…

Mehdi Belhaj Kacem, Philippe Sollers | What is the Meaning of the Avant-garde’s Death?

FIRST PUBLISHED: DIAPHANES How could Dante be avant-garde? Mehdi Belhaj Kacem: Mr. Sollers, for 23 years you were the editor of Tel Quel, doubtless the very last important literary review that can be considered “avant-garde.” It published some of the biggest “avant-garde” writers of its time, like Pierre Guyotat, Maurice Roche, Jean-Jacques Schuhl and yourself, as well as still-unknown academics like Jacques Derrida, Roland Barthes and Gérard Genette. You also published Pierre Boulez and Jean-Luc Godard, who, like the writers and thinkers I just mentioned, were the leading avant-garde figures in their respective fields. In 1983 you left Les Éditions du Seuil,…