[ACTION #4] Masslose Gegenpoetiken

  »Ich bin nicht gehetzt, ich ersticke nicht, ich bin nicht vernichtet, ich bin nicht verschüttet, ich bin nicht eingekreist, ich bin nicht vernichtet, ich atme.« Christophe Tarkos       Mai-Juni 1886.  Die Zeitschrift La Vogue veröffentlicht Rimbaud’s Les Illuminations. Das Gedicht Démocratie (verfaßt nach der Niederschlagung der Pariser Kommune) benennt darin den erstickenden Kolonialismus, die Zumutungen kapitalistischer Verhältnisse (die eiskalten Gesetze der Trader) und das Niedermetzeln der logisch folgenden Revolten.Juni 1872. Marx und Engels berichten in Das Kommunistische Manifest von der Hetzjagd des Papstes, der französischen Rechten (u.a. der Neoliberalen), sowie der deutschen Polizei auf das ‘Gespenst des…

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….

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,…

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…

The Secret Art of Antonin Artaud | Jacques Derrida & Paule Thévenin

Translation and preface by Mary Ann Caws Antonin Artaud – stage and film actor, director, writer, drug addict, and visual artist – was a man of rage and genius. The Secret Art of Antonin Artaud is the first English translation of two famous texts on his drawings and portraits. In one, Jacques Derrida examines the works that he first saw on the walls of Paule Thévenin’s apartment. His text, as frenzied as Artaud’s, struggles with Artaud’s peculiar language and is punctuated by footnotes and asides the reflect this strain (“How will they translate this?”). The more straightforward text of Paule…