Abstract

This review of Alain Badiou’s The Pornographic Age—as well of the essays included in the book by William Watkin, A.J. Bartlett and Justin Clemens—illuminates that this is one of the few, if not only, texts where Badiou reverses the operational directionality of the event qua category theory, so as to “dis-image” power. In doing so, Badiou provides a theory of power based on intentionality and relation, rather than the more common Foucauldian genealogic-historical methodologies so often co-opted by contemporary thinkers of biopolitics and power. Using Jean Genet’s play, The Balcony, as a fulcrum with which to strip apart the representative regime vis-à-vis the Platonic gesture, Badiou posits a politically exigent critique of contemporary neoliberal democracy.