Jacques Rancière & Philippe Lafosse | Politics and Aesthetics in the Straubs’ Films

  Jacques Rancière, Philippe Lafosse and the public in conversation about Straub-Huillet after a screening of From the Clouds to the Resistance and Workers, Peasants Monday, February 16, 2004, Jean Vigo Cinema, Nice, France     PHILIPPE LAFOSSE: It seemed interesting to us, after having seen twelve films by Jean-Marie Straub and Danièle Huillet and talked about them together, to ask another viewer, a philosopher and cinephile, to talk to us about these filmmakers. Jacques Rancière is with us this evening to tackle a subject that we’ve entitled “Politics and Aesthetics in the Straubs’ Films,” knowing that we could then look into other…

Mario Tronti | “In art as in politics there is nothing other than struggle”

    Can you really be outside? This is the question I asked Mario the last time we talked (Francesco Matarrese | Greenberg and Tronti: Being Really Outside?). Today, the eighth of January, his important, extraordinary answer arrived. Now it is here, naturally, in the written struggle, in this paper.   In art as in politics there is nothing other than struggle Can you really be outside? This is the question. I answer: yes. I am. I feel I am. For sensibility, even before for reason. This world, as it is, as it is historically organized and dominated, does not…

Mario Tronti | Struggle against Labour!

  To conclude, let us go back to the beginning: to nature that is double and divided as well as opposed to labor. No longer labor contained in commodities, but the working class contained in capital. The zwieschlächtige Natur of the working class consists in being this together with concrete and abstract labor, work and the workforce, the value in use and productive work, together with capital and non-capital—hence capital and working class together. It is here that the division is already a counterposition. And counterposition is always struggle. But struggle is still not organization. It is not sufficient that…

Georges Didi-Huberman | Light against Light

    The disappearance of the fireflies—when the blinding glare of spotlights crushes the weak glimmer of glowworms in the night—is an excellent poetic allegory, a lovely “speaking image” on which to build something like a general poetics of light. This allegory has become familiar to us through the intervention of a great poet, Pier Paolo Pasolini.1 So we cannot be surprised that artists and thinkers have elevated this allegory in the field of aesthetics, and that it may lend itself as the title of an art exhibit. And yet its sole purpose is to ask, stubbornly, over and over…

Stuart Hall | Culture and Power

  Interviewed by Peter Osborne and Lynne Segal   RP: How would you describe the current state of cultural studies in Britain in relation to its past? Hall: Itʼs a question of how far back you want to go, because everybody has a narrative about this and everybodyʼs narrative is different. There was certainly something  distinctive about the founding moment in the 1960s, but even during that period, when it was mainly Birmingham, the field was transformed several times by some pretty major reconfigurations; and in any case, there was never simply one thing going on at any one time….

Mario Tronti | I am defeated

  Under the soles of his shoes, you can still recognise the dirt of history. “This is all that remains. A mix of straw and shit by which we delude ourselves into erecting cathedrals to the worker’s dream.“ Here’s a man, I say to myself, imbued with a consistency that bursts through in a total melancholy. It’s Mario Tronti, the most celebrated of the theorists of Operaismo. He has only recently finished writing a book on this subject: the origins of his thought, how it has changed and what it is today. I don’t know who will publish it (I…

Mario Tronti | Our Operaismo

  While most political forms and traditions of the European left cross-pollinated freely across national boundaries, the Italian operaismo of the 1960s was largely a sui generis experience in its time. Credited with a significant intellectual impact at home—transforming Italian sociology, through its project of worker inquiries, and yielding a heady if evanescent crop of theoretical journals: Quaderni rossi, Classe operaia, Angelus Novus, Contropiano—it had less immediate reverberation abroad than the larger current around Il Manifesto, whose cultural breadth and political consistency was of a different order. A condition for operaismo’s existence was the dramatic industrial expansion of the 1950s, within a culture already deeply coloured by two mass…

Nanni Balestrini | “I write to you opposite the balcony from whence I contemplate the eternal light whose radiant fire slowly fades on the distant horizon”

At one point in ‘Blackout’, Balestrini writes, “This poem should not be published because it is a political manifesto.” The historical events with which ‘Blackout’ is concerned and toward which it is critical began with the wave of conflicts in 1968 at the universities and factories and eventually spread throughout the West. The protests culminated in the “troubled autumn” of 1969, eventually involving the entire Italian working class in strikes, demonstrations, and acts of sabotage.

Carla Lonzi (Part One)

Karolin Meunier ON VAI PURE BY CARLA LONZI   READING SESSION 1 AND 2. EDIT 2 How to introduce a book that I hardly know, written in a language that I do not speak? The following text is the product of two translation sessions, one with Paolo Caffoni and one with Federica Bueti, as we started to read Vai Pure (Now You Can Go), a conversation between the Italian feminist, writer, and art historian Carla Lonzi and her partner Pietro Consagra, conducted in Lonzi’s apartment in Rome 1980 before they broke up their relationship. Lonzi had used this method—that is…

Carla Lonzi (Part Two)

FINDING RESONANCES WITH CARLA LONZI Giovanna Zapperi with Federica Bueti   I am not quite sure when or how I came across Carla Lonzi’s writing. It happened in the casual manner in which sometimes one’s life changes in unexpected ways. Lonzi’s writing did not change my life, but it offered me an opportunity to reflect upon it. Lonzi’s feminist practice is a work of unearthing, undoing, and undressing that shakes up the foundation of our culture and beings. What has society made of me? Who am I? Lonzi ceaselessly questions her sense of self, the place society had assigned to…

Félix Guattari | Militant Incidences

  1 On the Question of “Primordial Bureaucratic States”1 Since you have asked me to elaborate on my thoughts about stylites and other dendrites, I will take a stab at laying out some of the connections here. Mystics—Coptics, Syrians and other, express their desire to return to the roots, the roots of the primordial Empire: the Ur-State (there is a wordplay like this in the book by Lacarrière).2 In their own way, they’re championing the Asiatic State. The Egyptians and the sons of Trojan warriors never could take being fucked with and eliminated by barbarians and pirates like the Greeks,…

Keston Sutherland | Free Dissociation/Logic

    pladd. (you who say either) nothing can be clear when knowing the associations are read by unread people, exposées, exposures. new poems for old. groovy. associations and world societies of interactive growth. groan. a place full of untrained actors absorbing dimensions of cradling pain securing test periods of temperature change. sewing elbes to harare, scratch luck. nothing matches the theoretical tuck. nutmeg. primus stove. raised eyebrows. work sharing. retreat into the forest. the silver conifers. the crumbs. chums. biceps & musical hairs. plaesthetics. planna vanne. plin plor plon pladverbially plodding along with a net in sturdy boots, add…

Félix Guattari | Genet Regained

    Perhaps the massacres at Chatila in September 1982 were not a turning point. They happened. I was affected by them. I talked about them. But while the act of writing came later, after a period of incubation, nevertheless in a moment like that or those when a single cell departs from its usual metabolism and the original link is created of a future, unsuspected cancer, or of a piece of lace, so I decided to write this book. The matter became more pressing when some political prisoners urged me not to travel to France. Anything not to do…

Ruth Jennison | “A Whole New Set of Stars”: Poetics and Revolutionary Consciousness

  Current political conditions and conjunctures are making possible a serious reconsideration of the histories, forms, and political urgencies of twentieth and twenty-first century, left anti-capitalist poetry. The end of the Cold War has been registered in transformations of poetry and the scholarly work that attends to it at what can only be described as a glacial pace. Part of this is generational—Marxists are only beginning to repopulate the universities from which they were expelled during the McCarthyism that has re-branded itself as liberal hegemony. Likewise, poetry, so long kept restricted to the hermeticism of New Criticism, and taught largely…

Jacques Rancière | The Fraternal Image; interviewed by Serge Daney & Serge Toubiana

Originally published as ‘L’Image Fraternelle‘, Cahiers du Cinéma, nos. 268-269, part of a special issue dedicated to “Images de Marque” (July-August 1976). Source: Diagonal Thoughts     Cahiers: If we consider two films, ‘Milestones’ (Robert Kramer & John Douglas) and ‘Numéro Deux’ (Jean-Luc Godard & Anne-Marie Miéville), it seems to us that the first has a genealogical dimension that is completely absent in the second. We could say that ‘Milestones’ has a place in a history of “genres” (American cinema) while ‘Numéro Deux’ has a place in a history of “forms” (European cinema). The result is that ‘Milestones’, but perhaps…

The Power of Political, Militant, ‘Leftist’ Cinema. Interview with Jacques Rancière

  By Javier Bassa Vila Jacques Rancière’s thought is undisciplined, at least in two different but interlinked senses. On the one hand, in the 1970s Rancière suggested a reading of Marxism that broke with the dominant interpretations of the time, specially with the scientifist Marxism imposed by Althusser (see La leçon d’Althusser, originally published in 1976 and re-published in 2012 by La Fabrique – and due to come out soon in Spanish). On the other hand, the broad interest that his thought has triggered at an international level seems to be also the consequence of another in-discipline: his reflections are…

Jacques Rancière | Circuit Rounds and Spirals [from ‘Proletarian Nights’]

  ANOTHER FEVER, ANOTHER EXILE. This printer has gone back out the door he just entered: “On the fifth day we got the sinister message—nothing more to do!”1 These mishaps are frequent in the typographer’s trade, one marked by the singular fact that a day at work is not necessarily a day of work: “It is pretty much only in the printshop that one is permitted the revolting and wicked abuse of hiring people and keeping them behind bars or under lock and key, without feeling obliged to give them any work or remuneration.”2 That is the lot of the…

Tongo Eisen-Martin

    Faceless A tour guide through your robbery He also is Cigarette saying, “look what I did about your silence.” Ransom water and box spring gold –This decade is only for accent grooming, I guess Ransom water and box spring gold –The corner store must die War games, I guess All these tongues rummage junk The start of mass destruction Begins and ends In restaurant bathrooms That some people use And other people clean “you telling me there’s a rag in the sky?” -waiting for you. yes- we’ve written we’ve set a stage We should have fit in. warehouse…

Alberto Toscano | Mayakovsky at Mirafori: Operaismo and the Negation of Poetry

  Though many of the watchwords and guiding axioms of Italian operaismo and its successors have percolated into critical discourse on aesthetic production, and multiple analyses of its intersections with visual art and architecture in the 1960 and 1970s have been advanced, little has been made of its specific approach to the question of poetics. This chapter aims partially to correct this tendency by exploring the arguments about the unhappy marriage between avant-garde poetry and communist politics sketched out in some interventions by the key literary critic and historian in the collective of militant intellectuals that made up ‘classic’ operaismo,…

Lisa Robertson & Matthew Stadler | Revolution (The Coming Insurrection)

  Introduction   How will I recognize you? The revolution is happening now, everywhere, in the bodies and faces that pass by in a blur. Our revolutionary potential is considerable. It has not been erased, so much as we have forgotten how to recognize it. Much works against us. A grotesquely swelling neo-liberal political economy blocks our potential to originate or live bountiful and joyous collective change, at any scale. What does revolution look like? This book is an attempt to teach ourselves how to see and how to be seen. The book was conceived, written, and produced in a…

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,…

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…

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,…

Walter Benjamin | The Author as Producer

    II s’agit de gagner les intellectuels “la classe ouvriere, en leur faisant prendre conscience de l’identité de leurs de-marches spirituelles et de leurs conditions de producteur. – Ramon Fernandez   You recall how Plato treats the poets in his projected State. In the interest of the community, he does not allow them to live there. He had a high idea of the power of poetry. But he considered it destructive, superfluous – in a perfect community, needless to say. Since then, the question of the poet’s right to exist has not often been stated with the same insistence;…

Devin Fore | Soviet Factography: Production Art in an Information Age (Sergei Tret’iakov)

  If facts destroy theory, then all the better for theory. —Viktor Shklovsky, “In Defense of the Sociological Method,” 1927   Any discussion of factography first has to deal with the conspicuous strangeness of the word “factography” itself, an awkward and selfconsciously technicist term coined in Russia in the latter half of the 1920s to designate a certain aesthetic practice preoccupied with the inscription of facts. Those who are familiar with contemporaneous avant-garde movements in other countries and who may also be skeptical of the early Soviet zeal for linguistic invention will wonder if factography is not simply another word…

Pasolini on de Sade: An Interview during the Filming of ‘Salò or the 120 Days of Sodom’

  by Gideon Bachmann It is reputed that Donatien Alphonse François, Marquis de Sade, spent only 37 days, writing from seven to ten every evening, in composing his masterpiece, the unsurpassed 120 Days of Sodom, the first psychopathia sexualis ever written, and preserved only in fragmentary form. More than half of what has been left are just lists of perversions, lacking that deep sociological and political insight which characterizes most of the Marquis’s other work, and which assured him his ranking place in prerevolutionary French literature. Nobody has ever used a de Sade book as material for a film. It is therefore all…

Roland Barthes | Sade – Pasolini

  SALÒ does not please fascists. On another side, since Sade has become for some of us a kind of precious patrimony, many cry out: Sade has nothing to do with fascism! Finally, the remainder, neither fascist nor Sadean, have an immutable and convenient doctrine that finds Sade boring. Pasolini’s film therefore can win no one’s adherence. However, quite obviously, it hits us somewhere. Where? In SALÒ, what touches is the letter. Pasolini has shot his scenes to the letter, the way that they had been described (I do not say “written”) by Sade; hence these scenes have the sad, frozen and rigorous beauty…

Harun Farocki | Peter Weiss On Display (The Aesthetics of Resistance)

  We were visiting Peter Weiss in Stockholm on 17th and 18th June 1979. We talked about his work on the book The Aesthetics of Resistance. Two volumes have already been published and P.W. is currently on the third. He has been working on it for over ten years and not one sentence is unfounded. Weiss has performed an unbelievable amount of research, studied the lives of people serving as models down to the tiniest detail, and attaches great importance to visiting the scenes of the action. The film gives an impression of his work. Harun Farocki, 1979     Harun Farocki:…

Esther Leslie | Fear Eats the Soul: Walter Benjamin & Baader Meinhof

Neither of the figures in my title – Walter Benjamin and The Baader Meinhof Group – are in any direct way associated with 1968 – indeed each brackets it in time. The one, Benjamin, was long dead by the time of the student and worker revolts, that would undoubtedly have thrilled him, even if they did not thrill his old friend Adorno, who called in the police on his revolting students. Benjamin’s adult thought emerges in the years of the Russian Revolution of 1917 and it reaches its final formulation in the dark days of Nazi rule, his death occurring…

Disruptions — An interview with Jacques Rancière

  Dwaipayan Chowdhury with Jacques Rancière (Spring 2019) LATERAL | JOURNAL OF THE CULTURAL STUDIES ASSOCIATION   I Nor is there singing school but studying Monuments of its own magnificence W. B. Yeats With this reference from Sailing to Byzantium the art historian Clement Greenberg takes us to a quandary.1 This quandary pertains to the efficacy of (western) art in general with regard to the operations of artistic systems. With “of its own” Yeats takes us to the magnificence of the monuments. For Greenberg, what is at stake in this journey to magnificence is the establishment of the cleavage, within the integrity of…

Esther Leslie | Walter Benjamin

Esther Leslie | Walter Benjamin  ⇒   PDF (Full book)       For a Marxist Poetics of Science: An Interview with Esther Leslie First published in Historical Materialism Can you tell us a bit about your intellectual and political formation? I come from a political family — my parents were Trotskyists, my grandparents on one side were anarchists and, on the other, one grandfather had been involved in unemployment marches. There was a strong sense of class consciousness and political engagement at home. My anarchist grandfather, who was German, was a book publisher and bookseller in London and so we were…

Georges Didi-Huberman | The Supposition of The Aura: The Now, The Then and Modernity (Walter Benjamin)

Walter Benjamin and History Edited by Andrew Benjamin Continuum 2005  

Mark Fisher | We Need a Post-Capitalist Vision | Interviewed by AntiCapitalist Initiative

AntiCapitalist Initiative : Paul Mason recently argued that in light of the Arab revolutions, capitalist realism has come to an end. 2 Do you agree? Mark Fisher : I think that is going too far. I understand why Paul made that claim, but capitalist realism is very tenacious. Certainly, things look very different to how they did a few years ago during the high pomp of capitalist realism — when it was thought that the age of revolutions was in the past, that no great change will ever happen again, that every part of the world will eventually end up…

Mark Fisher | Hauntology, Nostalgia and Lost Futures | Interviewed by V. Mannucci & V. Mattioli

When, a bit over a year ago, we had the pleasure of meeting with British writer and theorist Mark Fisher in Rome, his book Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures was about to come out and we took the opportunity in order to talk with him about the future — not about his future or our future, but about the idea of the future itself in present-day society. Now with the lapse of time, then, one might ask wether it is still an interview about the future or rather about the past.  According to the perspective discussed below,…

Mark Fisher | Acid Communism (Unfinished Introduction)

  “The spectre of a world which could be free” “[T]he closer the real possibility of liberating the individual from the constraints once justified by scarcity and immaturity, the greater the need for maintaining and streamlining these constraints lest the established order of domination dissolve. Civilisation has to protect itself against the spectre of a world which could be free. […] In exchange for the commodities that enrich their lives […] individuals sell not only their labour but also their free time. […] People dwell in apartment concentrations — and have private automobiles with which they can no longer escape…

Noura Wedell | To Hold a Wild Basket [on Fernand Deligny]

  We can understand why there have been such few networks like this one: they require the abolition of privileges, an abolition that seems to be at the center of any serious attempt to escape what lies in wait for anyone who follows the path traced by the state, the family, school and everything else. —Norbert Z, Au défaut du language The modernist model of heterosexuality is coming to an end. Clearly, this is what is signaled by the current proliferation of discourses and acts constituting alternative genders and sexual orientations. According to Foucault, Federici and other theorists, the model of…

Alain Badiou | Philosophy for Militants

Philosophy for Militants: PDF   An urgent and provocative account of the modern ‘militant’, a transformative figure at the front line of emancipatory politics. Around the world, recent events have seen the creation of a radical phalanx comprising students, the young, workers and immigrants. It is Badiou’s contention that the politics of such militants should condition the tasks of philosophy, even as philosophy clarifies the truth of our political condition. To resolve the conflicts between politics, philosophy and democracy, Badiou argues for a resurgent communism – returning to the original call for universal emancipation and organizing for militant struggle.    …

Farocki / Godard: Film as Theory; by Volker Pantenburg

Farocki / Godard | Film as Theory  PDF  Volker Pantenburg   There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction…

The Invisible Committee | Now

‘Now’ proposes a “destituent process” that charts out a different path to be taken, a path of outright refusal that simply ignores elections altogether. It is a path that calls for taking over the world and not taking power, for exploring new forms of life and not a new constitution, and for desertion and silence as alternatives to proclamations and crashes. It is also a call for an unprecedented communism—a communism stronger than nation and country.

Marcel van der Linden | Socialisme ou Barbarie: A French Revolutionary Group (1949-65)

An essay about French libertarian socialist group ‘Socialisme ou Barbarie’. ‘Socialisme ou Barbarie’ had a theoretical influence on the Situationist International and others of their time. [In memory of Cornelius Castoriadis, 11 March 1922 – 26 December 1997).

Alain Badiou | Metapolitics

Metapolitics argues that one of the main tasks of contemporary thought is to abolish the idea that politics is merely an object for philosophical reflection. Badiou critically examines the thought of anthropologist and political theorist Sylvain Lazarus, Jacques Rancière’s writings on workers’ history and democratic dissensus, the role of the subject in Althusser, as well as the concept of democracy and the link between truth and justice.

Kristin Ross | Against commemoration: Unearthing the lives and afterlives of May ’68

Thread:In May ’68 and its afterlives (2002), you described France’s ‘68 as a “union of intellectual contestation with workers struggles.” Left formations today struggle to create programs of action that unite peoples of different sectors of society. What should the Left know about the political struggles that unfolded in May 1968 in France? What thought and action enabled the coalescence of forces in ‘68? Ross: Well, that changes all the time, doesn’t it? The past is very unpredictable and its ability to connect with our current situations is often indirect and somewhat aleatory. When I wrote my book, for example, at…

Gilles Deleuze | Postscript on the Societies of Control

1. Historical Foucault located the disciplinary societies in the eighteenth and nineteenth centuries; they reach their height at the outset of the twentieth. They initiate the organization of vast spaces of enclosure. The individual never ceases passing from one closed environment to another, each having its own laws: first, the family; then the school (“you are no longer in your family”); then the barracks (“you are no longer at school”); then the factory; from time to time the hospital; possibly the prison, the pre-eminent instance of the enclosed environment. It’s the prison that serves as the analogical model: at the…

Gilles Deleuze | Control and Becoming

Negri: The problem of politics seems to have always been present in your intellectual life. Your involvement in various movements (prisoners, homosexuals, Italian autonomists, Palestinians), on the one hand, and the constant problematizing of institutions, on the other, follow on from one another and interact with one another in your work, from the book on Hume through to the one on Foucault. What are the roots of this sustained concern with the question of politics, and how has it remained so persistent within your developing work? Why is the rela­tion between movement and institution always problematic? Deleuze: What I’ve been interested in…

Vladimir Mayakovsky | What Is LEF Fighting For? ((Manifesto))

  The year 1905. After it, reaction. Reaction settled in with autocracy and the double oppression of the merchant and the factory owner. Reaction created art and life in its own image and according to its own taste. The art of the Symbolists (Bely, Balmont), mystics (Chulkov, Gippius), and sexual psychopaths (Rozanov)–the life of the petty bourgeois and philistines. The revolutionary parties smashed their lives; art rose up and smashed their tastes. The first impressionistic flare up was in 1909 (the collection A Trap for Judges). The flames were fanned for three years. Fanned into Futurism. The first book of the union of…

Sophie Wahnich | IN DEFENCE OF TERROR: Liberty or Death in the French Revolution

I want never to forget how I was forced to become — for how long? — a monster of justice and intolerance, a narrow-minded simplifier, an arctic character uninterested in anyone who was not in league with him to kill the dogs of hell. — René Char   Provocative reassessment of the Great Terror as a price worth paying For two hundred years after the French Revolution, the Republican tradition celebrated the execution of princes and aristocrats, defending the Terror that the Revolution inflicted upon on its enemies. But recent decades have brought a marked change in sensibility. The Revolution…

Reading Capital | The Complete Edition

READING CAPITAL | THE COMPLETE EDITION
LOUIS ALTHUSSER, ÉTIENNE BALIBAR, ROGER ESTABLET, PIERRE MACHEREY AND JACQUES RANCIÈRE //
Reading Capital: 50 Years Later //
Nina Power: Reading Social Reproduction into ‘Reading Capital

Deleuze, Marx and Politics ((The Grandeur of Marx)) | by Nicholas Thoburn

→ Full book: PDF NICHOLAS THOBURN DELEUZE, MARX AND POLITICS FIRST PUBLISHED 2003 BY ROUTLEDGE     Introduction: The grandeur of Marx   For the race summoned forth by art or philosophy is not the one that claims to be pure but rather an oppressed, bastard, lower, anarchical, nomadic, and irremediably minor race. Deleuze/Guattari; What is Philosophy? one does not belong to communism, and communism does not let itself be designated by what it names. Maurice Blanchot; Friendship Gilles Deleuze’s comment that his last book, uncompleted before his death, was to be called The Grandeur of Marx leaves a fitting…

CRISIS AND CRITIQUE / 50 Years after May 68

    Introduction: 50 Years After May 68, Frank Ruda & Agon Hamza PDF Table of Contents   The Double Heritage of Communism to Come. 1917-1968-2018 by Bini Adamczak  PDF 1968-2018, or from the “revolution impossible” to the impossibility of revolution? Variations on the objet petit s by Eric Alliez  PDF Scattered Notes on “May 68” And its interpretations by Étienne Balibar  PDF The procedure of its Invention, the Construction of its Form, the Means of its Transmission by A. J. Bartlett  PDF Topicality of May 68 by Daniel Blanchard  PDF Will it Happen Again? Boredom, Anxiety and the Peak of Human Evolution by Franco “bifo” Berardi  PDF To Make the…

Alain Badiou | The Century & Poetry and Communism

Alain Badiou | The Century  PDF   Everywhere, the twentieth century has been judged and condemned: the century of totalitarian terror, of utopian and criminal ideologies, of empty illusions, of genocides, of false avant-gardes, of democratic realism everywhere replaced by abstraction. It is not Badiou’s wish to plead for an accused that is perfectly capable of defending itself without the authors aid. Nor does he seek to proclaim, like Frantz, the hero of Sartre’s Prisoners of Altona, ‘I have taken the century on my shoulders and I have said: I will answer for it!’ The Century simply aims to examine what…

Jacques Rancière | Staging the People

Jacques Rancière | Staging the People The Proletarian and His Double  PDF   These essays from the 1970s mark the inception of the distinctive project that Jacques Rancière has pursued across forty years, with four interwoven themes: the study of working-class identity, of its philosophical interpretation, of “heretical” knowledge and of the relationship between work and leisure. For the short-lived journal Les Révoltes Logiques, Rancière wrote on subjects ranging across a hundred years, from the California Gold Rush to trade-union collaboration with fascism, from early feminism to the “dictatorship of the proletariat,” from the respectability of the Paris Exposition to…

Harun Farocki / Kaja Silverman | Speaking about Godard

Kaja Silverman and Harun Farocki Speaking about Godard Full book / PDF   “Probably the most prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. With Speaking about Godard, leading film theorist Kaja Silverman and filmmaker Harun Farocki have made one of the most significant contributions to film studies in recent memory: a lively set of conversations about Godard and his major films, from Contempt to Passion. Combining the insights of a feminist film theorist with those of an avant-garde filmmaker, these eight dialogues–each representing…

A. Badiou, P. Bourdieu, J. Butler, G. Didi-Huberman, S. Khiari, J. Rancière | WHAT IS A PEOPLE?

ALAIN BADIOU, PIERRE BOURDIEU, JUDITH BUTLER, GEORGES DIDI-HUBERMAN, SADRI KHIARI, AND JACQUES RANCIÈRE WHAT IS A PEOPLE? PDF     What Is a People? seeks to reclaim “people” as an effective political concept by revisiting its uses and abuses over time. Alain Badiou surveys the idea of a people as a productive force of solidarity and emancipation and as a negative tool of categorization and suppression. Pierre Bourdieu follows with a sociolinguistic analysis of “popular” and its transformation of democracy, beliefs, songs, and even soups into phenomena with outsized importance. Judith Butler calls out those who use freedom of assembly…

Italy 1977-8: Living with an earthquake – Red Notes

  Italy 1977-8: Living with an earthquake – Red Notes A pamphlet from a time when a very high level of class struggle dominated Italian society. Despite their differences – the state, church, fascists, Communist Party and unions were all united in opposition to the the radical social movement.    A. Preface We have called our pamphlet “Living With An Earthquake”. This earthquake is not just the crisis at Government level – it is a quite new political upheaval affecting the whole of Italian society. We have produced this pamphlet because it is vitally important that the out­side world should…

Jean-Luc Godard | What is to be done? // British Sounds, by J.-L. Godard [DVG]

  Written in January 1970 at the request of Simon Field and Peter Sainsbury for the magazine Afterimage, produced by Peter Whitehead. Published in Afterimage n°1, April 1970. Translated from French by Mo Teitelbaum. We must make political films. We must make films politically. 1 and 2 are antagonist to each other and belong to two opposing conceptions of the world. 1 belongs to the idealistic and metaphysical conception of the world. 2 belongs to the Marxist and dialectical conception of the world. Marxism struggles against idealism and the dialectical against the metaphysical. This struggle is the struggle between the…

Louis Althusser | For Marx

LOUIS ALTHUSSER | FOR MARX  PDF   A New Practice of Politics: Althusser and Marxist Philosophy by Asad Haider Since the conjuncture that marked the reception of Althusser’s works, it has become clearer that the the initial Anglophone interpretation of Althusser involved considerable conceptual mistranslation, and his texts have since then been cursed by a reputation which powerfully precedes the reading. In the spring of 1966, the Central Committee of the French Communist Party (PCF) met in the Parisian suburb of Argenteuil, ostensibly for a discussion of the “problem of ideology and culture.” In fact, they had convened for a…

Maurizio Lazzarato | Marcel Duchamp and The Refusal of Work

MARCEL DUCHAMP AND THE REFUSAL OF WORK  PDF   MAURIZIO LAZZARATO Art, work and politics in disciplinary societies and societies of security According to Michel Foucault, for some time we have been leaving disciplinary societies in order to enter into societies of security that, unlike the former, ‘tolerate a whole host of behaviours that are different, varied, or even deviant and antagonistic toward one another’. [1] These societies lead us beyond disciplines, because they put in place policies regarding the government of conducts that are exercised through the management of heterogeneities and the ‘optimization of systems of differences’ – that…

Tiqqun | This Is Not a Program

“’77 wasn’t like ’68. ’68 was anti-establishment, ’77 was radically alternative. This is why the ‘official’ version portrays ’68 as good and ’77 as bad; in fact, ’68 was co-opted whereas ’77 was annihilated. This is why, unlike ’68, ’77 could never make for an easy object of celebration.”
— Nanni Balestrini, Primo Moroni, L’orda d’oro

Theses on the Paris Commune | Guy Debord, Attila Kotányi & Raoul Vaneigem

The Commune represents the only implementation of a revolutionary urbanism to date — attacking on the spote the petrified signs of the dominant organization of life, understanding social space in political terms, refusing to accept the innoncence of any monument. Anyone who disparages this attack as some “lumpenproletarian nihilism,“ some “irresponsibility of the pétroleuses,“ should specify what he believes to be of positive value in the present society and worth preserving (it will turn out to be almost everything).

Guy Debord | Society of the Spectacle

Guy Debord | Society of the Spectacle PDF   & Society of the Spectacle (New Annotated Translation of the book by Ken Knabb) PDF   Society of the Spectacle is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same name. It was Debord’s first feature-length film. It uses found footage and detournement in a radical Marxist critique of mass marketing and its role in the alienation of modern society.     Preface to the Third French Edition of The Society of the Spectacle La Société du spectacle was first published…

Guy Debord | In girum imus nocte et consumimur igni

  I will make no concessions to the public in this film. I believe there are several good reasons for this decision, and I am going to state them. In the first place, it is well known that I have never made any concessions to the dominant ideas or ruling powers of my era. Moreover, nothing of importance has ever been communicated by being gentle with a public, not even one like that of the age of Pericles; and in the frozen mirror of the screen the spectators are not looking at anything that might suggest the respectable citizens of…

Guy Debord and the Situationist International | Text and Documents [edited by Tom McDonough]

Guy Debord and the Situationist International Texts and Documents edited by Tom McDonough PDF Critical texts, translations, documents, and photographs on the work of the Situationist International This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI’s profound engagement with the art and cultural politics of their time (1957-1972),…

Guy Debord | Comments on the Society of the Spectacle

Guy Debord | Comments on the Society of the Spectacle   PDF First published in 1967, Guy Debord’s stinging revolutionary critique of contemporary society, The Society of the Spectacle has since acquired a cult status. Credited by many as being the inspiration for the ideas generated by the events of May 1968 in France, Debord’s pitiless attack on commodity fetishism and its incrustation in the practices of everyday life continues to burn brightly in today’s age of satellite televisionand the soundbite. In Comments on the Society of the Spectacle, published twenty years later, Debord returned to the themes of his…

Giorgio Agamben | Marginal Notes on Comments on the Society of the Spectacle

Giorgio Agamben | Marginal Notes on Comments on the Society of the Spectacle (2) PDF     The Uses of the Body [Prologue] by Giorgio Agamben It is curious how in Guy Debord a lucid awareness of the insufficiency of private life was accompanied by a more or less conscious conviction that there was, in his own existence or in that of his friends, something unique and exemplary, which demanded to be recorded and communicated. Already in Critique de la séparation, he thus evokes at a certain point as intransmissible “cette clandestinité de la vie privée sur laquelle on ne possède jamais…

Guy Debord’s Cinema

Guy Debord’s Cinema PDF Jason E. Smith | Guy Debord, Filmmaker Jacques Rancière | When We Were on the Shenandoah Editors of Internationnale situationiste 1 | With and Against Cinema Kaira M. Cabañas | Hurlements en faveur de vous Soyoung Yoon | Cinema against the Permanent Curfew of Geometry: Guy Debord’s Sur le passage de quelques personnes à travers une assez courte unité de temps (1959) Jason E. Smith | Missed Encounters: Critique de la séparation between the Riot and the ‘Young Girl’ McKenzie Wark | The Insolent Edit Benjamin Noys | Guy Debord’s Time-Image: In girium imus nocte et consumimur…

Ralph Rumney | The Consul

Ralph Rumney | The Consul PDF Ralph Rumney has been in constant flight from the wreckage of postwar Europe. Crossing paths with every avant-garde of the past fifty years, he was one of the founding members of the Situationist International. Rumney’s traveling companions — Guy Debord, Pegeen Guggenheim, Asger Jorn, Michèle Berstein, Bernard Kops, Yves Klein, Marcel Duchamp, Georges Bataille, William Burroughs, Félix Guattari, E.P. Thompson, Victor Brauner, and many others — are recalled in the oral history with sharp intelligence and dry wit.         The Consul: Contributions to the History of the Situationest International and Its Time…

Why Brecht?

Dmitry Vilensky /// Why Brecht? That’s great art: nothing obvious in it – I laugh when they weep, I weep when they laugh. Bertold Brecht If we try replacing the word “opera” with culture or art in Brecht’s text “OPERA – WITH INNOVATIONS!”, it paradoxically becomes clear that Brecht’s analysis of the situation more than 70 years ago is more than relevant today. Of course, many things have changed, such as the notions of power, class, labor, the means of struggle. But still, anyone who is still capable of considering the necessity of connecting thought and action now hits upon…

Gilles Deleuze; Two Regimes of Madness (1975-1995)

Gilles Deleuze; Two Regimes of Madness, Revised Edition | Texts and Interviews 1975-1995 | Full book     Gilles Deleuze Edited by David Lapoujade | Translated by Ames Hodges and Mike Taormina The texts and interviews gathered in this volume cover the last twenty years of Gilles Deleuze’s life (1975-1995), which saw the publication of his major works: A Thousand Plateaus (1980), Cinema I: Image-Movement (1985), Cinema II: Image-Time (1985), all leading through language, concept and art to What is Philosophy? (1991). They also document Deleuze’s increasing involvement with politics (Toni Negri, terrorism, etc.). The texts of Two Regimes of Madness complete…

Gilles Deleuze; Desert Islands and Other Texts (1953-1974)

Gilles Deleuze | Desert Islands and Other Texts (1953-1974) (2003, Semiotext(e))/ Full book “One day, perhaps, this century will be Deleuzian,“ Michel Foucault once wrote. This book anthologizes 40 texts and interviews written over 20 years by renowned French philosopher Gilles Deleuze, who died in 1995. The early texts, from 1953-1966 (on Rousseau, Kafka, Jarry, Ponge, Artaud, etc.) belong to literary criticism and announce Deleuze’s last book, Critique and Clinic (1993). But philosophy clearly predominates in the rest of the book, with sharp appraisals of the thinkers he always felt indebted to: Spinoza, Bergson. More surprising is his acknowledgement of Jean-Paul…

Louis Auguste Blanqui; Eternity by the Stars

Louis Auguste Blanqui Eternity by the Stars I. The universe – The infinite The universe is eternal in time and space – eternal, boundless and indivisible.1 All bodies, animate and inanimate, solid, liquid and gaseous, are linked by the very things that separate them. Everything holds together. Without the astral bodies [astres], only space would remain, absolutely empty no doubt, but retaining the three dimensions, length, width and depth –– indivisible and unlimited space. Pascal once said, in his magnificent style: ‘The universe is a circle whose centre is everywhere and whose circumference is nowhere.’2 Could there be a more striking…

Sean Bonney | COMETS & BARRICADES: INSURRECTIONARY IMAGINATION IN EXILE

  Sean Bonney | COMETS & BARRICADES: INSURRECTIONARY IMAGINATION IN EXILE Let every word indicate the most frightening of distances, it would still take billions of centuries, talking at one word per second, to express a distance which is only an insignificance when it comes to infinity. ¹ Louis Auguste Blanqui; Eternity by the Stars Imprisoned on the day before the declaration of the Paris Commune, in a cell in the Fort du Taureau, ‘an ellipse-shaped fortified island lying half a mile outside of the rock shores of Morlaix at a place where, after briefly morphing into the English Channel, the…

Jacques Rancière; The Radical Gap

 The Radical Gap A preface to Auguste Blanqui, Eternity by the Stars Jacques Rancière I leaf through the programme and learn that the very stars themselves – which, I am irmly convinced, should be but rarely disturbed, and even then only for high reasons of meditative gravity … – the very stars are present!1 Mallarmé penned these ironic lines about a ballet performance at the Eden Theatre. Nevertheless, such stellar lights seem as natural to the choreographer as they do to the poet. This is less obviously the case when the one disturbing the stars is a revolutionary leader. Of…

Victor Serge; Memoirs of a Revolutionary

Victor Serge; MEMOIRS OF A REVOLUTIONARY (FULL BOOK)   The End Commands the Means: Victor Serge’s Memoirs of a Revolutionary by Guy Patrick Cunningham I STILL REMEMBER ZUCOTTI PARK in the fall of 2011. I was struck by the way the encampment seemed both very abstract — an open-ended protest without a conventional list of goals — and mundanely practical, as people dealt with distributing food, resolving noise complaints, and deciding on sleeping arrangements. Despite its flaws, the protests were a compelling metaphor for the fact that some measure of utopianism — not only the desire but the need to…

Bertolt Brecht; War Primer

Bertolt Brecht; War Primer (Full book) The Shipwreck of History: Bertolt Brecht’s “War Primer“ By Roy Scranton   “in the future it will perhaps be difficult to understand the impotence of the peoples in these wars of ours.” — Bertolt Brecht, journal, June 14, 1940 VERSO’S NEW EDITION of Bertolt Brecht’s War Primer is an artifact rich and strange. It comprises 85 photos Brecht collected between 1939 and 1945 while he was a refugee in exile from Nazi Germany, on the move from Denmark to Sweden to Finland and finally, by way of Moscow and the Trans-Siberian Railroad, to Los…

Fredric Jameson; Brecht and Method

Fredric Jameson; Brecht and Method (Full book)   Each Scene for Itself David Edgar The major contribution of the English theatre to last year’s Brecht centenary was Lee Hall’s dazzling version of Mr Puntila and His Man Matti, presented by the Right Size, a touring company led by the comic actors Sean Foley and Hamish McColl. Their prologue goes some way to explaining why the Anglophone response to the Brechtfest was so muted. Announcing that ‘Before we start/this evening’s art/we’d like to take you through a bit of theory,’ Foley and McColl went on to outline the origins of Marxism, the…