Julieta Aranda, Brian Kuan Wood, Anton VidokleEditorial
Elizabeth A. PovinelliAfter the Last Man: Images and Ethics of Becoming Otherwise
If democracy is the back of history, there seems to be no front to neoliberal being. How do we think about the sources of the political otherwise when being seems trapped in an enclosure rather than having a front or a back? Where are the sensuous modes of becoming within the global circulations of being that have defined modern politics and markets, if not in a horizon?
Bilal KhbeizDubai: A City Manufactured by Curiosity
To employ engineers, educators, and doctors as the makers of the future, is to transform them into artists—and they will defend their products like valuable works of art. In the meantime, the citizen becomes a viewer, watching his or her country on a screen rather than living in it. Rather than emigrating abroad, the citizens immigrate inwards, as if into a secret. As they do this, they cease to be visible, yet they can always see the masterpiece their land has become.
Boris GroysUnder the Gaze of Theory
Critical theory criticizes not only philosophical contemplation, but any kind of contemplation, including aesthetic contemplation. For critical theory, to think or contemplate is the same as being dead. In the gaze of the Other, if a body does not move it can only be a corpse. Philosophy privileges contemplation. Theory privileges action and practice—and hates passivity. If I cease to move, I fall off theory’s radar—and theory does not like it.
Sotirios BahtsetzisEikonomia: Notes on Economy and the Labor of Art
It is pertinent to us that art permanently assumes its position as acheiropoieton—a slow and mute icon—offering the impression that it is situated outside the world of labor (semio-time) as part of a particular economy. In this regard, the economy of the artwork might be the hidden equivalent of both the governmental machinery and the economic control power within our alienated society.
Irmgard EmmelhainzBetween Objective Engagement and Engaged Cinema: Jean-Luc Godard’s “Militant Filmmaking” (1967-1974), Part II
For Godard and Miéville, “objectivity” requires that images hide their own silence, a “silence that is deadly because it impedes the image from coming out alive.” They thus work with the imperative to ask of images: “Who speaks?” And for them, all images are always addressed to a third: “Une image c’est un regard sur un autre regard présenté à un troisième regard.”
John MillerPolitics of Hate in the USA, Part III: Posse Comitatus, Grassroots Rebellion, and Secret Societies
Of all the far right factions, the Posse Comitatus may be the largest. A true grassroots movement, it is also the most amorphous and the hardest to pin down. James Ridgeway compares its organizational flexibility with that pioneered by the SDS, yet it also takes the anti-Federalist logic of states’ rights to a topical extreme. “Posse Comitatus” literally means “power of the county” in Latin. The name refers to the Posse Comitatus Act of 1878, which forbids the use of US military and national guard forces as civilian police forces.