In this review essay, I consider a number of possible versions of a contemporary socialist balance-sheet, by way of the three very different recent accounts provided by Alain Badiou, Peter Beilharz, and Goran Therborn. Exploring these broad, colliding understandings of the socialist past, present, and future, I seek to evaluate the responses to some of those large and pressing socialist questions: Who owned the 20th century? What was 1968? What is the meaning of the period since? What remains of Marxism (...) and of socialism? What are the situation and tasks of social theory today? (shrink)

Using Buddhist thought, explores and challenges the philosophy of Jean-Paul Sartre.

. Time and the event. Cultural Values: Vol. 2, No. 2-3, pp. 223-242.

Massimiliano Simons provides the first systematic study of Serres' work in the context of late 20th-century French philosophy of science. By proposing new readings of Serres' philosophy, Simons creates a synthesis between his predecessors, Gaston Bachelard, Georges Canguilhem, and Louis Althusser as well as contemporary Francophone philosophers of science such as Bruno Latour and Isabelle Stengers. Simons situates Serres' unique contribution through his notion of the quasi-object, a concept, he argues, organizes great parts of Serres' work into a promising philosophy (...) of science as well as a challenge to the narrower field of French epistemology, to which it has often been limited. Simons highlights how the concept encompasses Serres' commitment to positive relations between science and culture and his rejection of pleas to purify the scientific self from imaginative and cultural elements. It helps to situate Serres between the distinct traditions of Bachelard and Latour as well as progressing the innovative aspects of Serres' philosophy for current debates in the philosophy, history, and sociology of science. Showing how Serres' philosophy can serve as a normative approach to science and technology, Michel Serres and French Philosophy of Science takes in themes of materiality, religiosity, modernity and ecology to advance a timely alternative to philosophy of science for contemporary life. (shrink)

:The theme of sacrifice appears in Jean-François Lyotard's writings on cinema not in terms of any representational content but in terms of the economy of the images from which a film is formally constructed. Sacrifice is here understood in a sense derived from Bataille, and related to his notions of general economy, and of sovereignty. Lyotard's writings on cinema have received some attention in English-language scholarship, but so far this attention has been focused almost exclusively on two essays which have (...) appeared in English translation: “Acinema” and “The Unconscious as Mise-en-Scène.” I offer an analysis which also incorporates his two other important essays on cinema, “Deux métamorphoses du séduisant au cinéma” [Two Metamorphoses of the Seductive in Cinema] and “Idée d'un film souverain” [The Idea of a Sovereign Film]. The interest of the former is that it makes most explicit the aesthetic politics – evident in many of Lyotard's writings on art – specific to cinema. In the latter, Lyotard gives his most extensive treatment of cinema, and frames it in terms of Bataille's notion of sovereignty. I offer an interpretation of Lyotard's philosophy of cinema which links these quite disparate essays, foregrounding the political dimension of the sacrificial economy of images he proposes: films of any variety, even commercial cinema, may include some sequences and images which are “sacrificial” in that they are “other” to the chronological narrative of the whole. These images liberate us from the seductive effects of the narrative, and the invitation to fantasise, which act as means of imposing and reproducing dominant social and cultural norms. (shrink)

This article offers a critique of the notion of ‘capacity building’ in educational theory. Are the intentions behind the latter enterprise as benign and altruistic as they first appear? How is the term ‘capacity building’ to be understood? The article presents a radical and daring alternative for re-invigorating educational research that foregrounds the ethical engagement of the researcher by exploring the expressive, cognitive and imaginative possibilities of language. Drawing on the Calvino's idea of the ‘lightness of thoughtfulness’, I suggest that (...) the emphasis accorded to the notion of ‘capacity building’ may detract attention from the equally significant role of incapacity in helping us to move the discussion forward in a responsive and ethical way. (shrink)

Editor's Comment: One of the functions of the journal is to develop an awareness of its own history. These papers are online-only papers that discuss the first ten years of the journal going back to 1969. Every so often the journal publishes synoptic articles that take a broad approach to the beginning of the Society and the journal to treat major themes and topics. As one can clearly see EPAT published many of the luminaries that helped to shape the discipline.

Editor's Comment: One of the functions of the journal is to develop an awareness of its own history. These papers are online-only papers that discuss the first ten years of the journal going back to 1969. Every so often the journal publishes synoptic articles that take a broad approach to the beginning of the Society and the journal to treat major themes and topics. As one can clearly see EPAT published many of the luminaries that helped to shape the discipline.

This paper analyses and examines Deleuze’s Foucault as a means of investigating intellectual resources for a new sociology – one that, in Foucault’s name, is neither foundationalist nor rep...

This essay looks at the relationship between formative aesthetics, language and the historical anticipation that begins with Antonio Gramsci's discussion of Kant's idea of noumenon. In Gramsci both education (as formazione) and aesthetics stem from a concern for power in terms of the hegemonic relations that are inherent to history as a political horizon. The title cites Gramci's suggestion that Kant's noumenon should be read as a proviso set apart by a ‘relative ignorance’ of reality [‘relativa ignoranza’ della realtà] to (...) be resolved by a future science. Yet far from another epistemological layering, a future science must also resolve those hegemonic relations of power that emerge from formation as a political act figured in the agonistic character of language as lingua and linguaggio. Further down the lane of our ‘relative ignorance’ we are confronted by a Post-Taylorist condition that precludes any false hopes of a reversal of society's educational, economic and political misfortunes. Yet, while Post-Taylorism confirms that this state of affairs is irreversible, a deeper inquiry into the aesthetic-agonistic character of formation could afford us answers that are in no way solutions but, because adept to struggle and are characteristically aesthetical, might provide an understanding of the logic of irreversibility. Because it remains conscious of its ‘relative ignorance’, this assumption offers a hopeful approach that comes to us sideways; thereby avoiding the predicament of what Lyotard and Thébaud regarded as a condition where ‘the prescriptive is derived from the descriptive’. (shrink)

In this article, I explore the differend between the body and the law, without conceiving the body as a material or natural object external to the rules of discourse. To do this I use Jean-François Lyotard's reflections on Franz Kafka's short story `In the Penal Colony' to reflect on the bodily mode of exposure to sensibility: that is, aesthesis. This exposure comes `before' the law and is radically heterogeneous to the binary organizations of discourse, and not simply its other. This (...) exposure to sensibility is a bodily mode that offers an other freedom to that prescribed by the law, and consequently it is this first `touch' of sensibility which the law must eradicate. By inscribing itself on to the body through body modificatory practices, it brings the body within its normative structures. I draw out the parallels between kafka's story and the simulated human currently on display on the Internet - the Visible Human Project. In this project, we can witness the materialization of a techno-scientific ideal of the body. As a form of inscription, it reproduces a `complete' body according to the rules laid down within the discursive practice of techno-science. It can do this only by actively forgetting this vital exposure to sensibility which precedes and disrupts it. The aim of this article is to think the violence of the law over this bodily mode of aesthesis and to bear witness to the wrong it institutes. (shrink)