This essay asks how we might articulate a political theory of algorithms. To do so, I propose a political ontology of the algorithm dispositif that elaborates how algorithms arrange the movement of energies in space and time, and how they do so automatically. This force of arrangement is what I refer to as the dispositional power of algorithms that I identify as a political physics of vital processes. The essay is divided into three sections. The first provides readers of Political (...) Theory with a discussion of three notable works in the field of critical algorithm studies relevant to a political theory of algorithms. The subsequent sections of the essay elaborate an understanding of the political ontology of the algorithm dispositif by focusing on the difference that a virtual ontology introduces to our political reflections and on the cybernetic operation of negative feedback that I identify as foundational to understanding an algorithm’s political physics of vital processes. I conclude that any political theory engagement with technical media can’t simply rest on an epistemic analysis of the normative effects of media but must also pursue an investigation into a medium’s modes of existence in the world. (shrink)

Prologue : narratocracy and the contours of political life -- From nomos to nomad : Kant, Deleuze, and Rancière on sensation -- The piazza, the edicola, and the noise of the utterance -- Machiavelli's theory of sensation and Florence's vita festiva -- The viewing subject : Caravaggio, Bacon, and the ring -- "You're eating too fast!" slow food's ethos of convivium -- Epilogue : "the photographs tell it all" : on an ethics of appearance.

In _The Poetics of Political Thinking_ Davide Panagia focuses on the role that aesthetic sensibilities play in theorists’ evaluations of political arguments. Examining works by thinkers from Thomas Hobbes to Jacques Rancière, Panagia shows how each one invokes aesthetic concepts and devices, such as metaphor, mimesis, imagination, beauty, and the sublime. He argues that it is important to recognize and acknowledge these poetic forms of representation because they provide evaluative standards that theorists use in appraising the value of ideas—ideas about (...) justice, politics, and democratic life. An investigation into the intertwined histories of aesthetic and political accounts of representation—such as Panagia presents here—sheds light on how modes of poetic thinking delimit the questions of unity and diversity that continue to animate contemporary political theory. Panagia not only illuminates the structure of much contemporary political theory but also shows why understanding the poetics of political thinking is vital to contemporary society. Drawing on Gilles Deleuze’s critique of negation and his privileging of paradox as the source of political thought, Panagia suggests that a non-teleological concept of difference might generate insight into pressing questions about foreignness and citizenship. Turning to the liberal/poststructural debate that dominates contemporary political theory, he compares John Rawls’s concept of justice to Rancière’s ideas about political disagreement in order to demonstrate how, despite their differences, both thinkers comprehend aesthetic and moral reasoning as part and parcel of political writing. Considering the writings of William Hazlitt and Jürgen Habermas, he describes how the essay has become the exemplary genre of what is considered rational political argument. _The Poetics of Political Thinking_ is a compelling reappraisal of the role of representation within political thought. (shrink)

In this article, I claim that film matters to political theory not because of the stories films recount, but because the medium of film offers political theorists an image of political thinking that emphasizes the stochastic serialization of actions. I thus argue that the stochastic serialization of moving images that films project makes available for democratic theory an experience of resistance and change as a felt discontinuity of succession, rather than as an inversion of hierarchical power. In my treatment of (...) these issues, I rely on Hume's ontology of ‘broken appearances’ and ‘interrupted perceptions’, as well as Stanley Cavell's ontology of film as treated in The World Viewed. I elaborate the following four aspects of the relation between film and political theory: the action-image; discontinuity and the fact of series; actors, artificial persons and human somethings; and political resistance and an aesthetics of politics. The manner in which I proceed is to show the aspectual overlay between film and political thinking. Such a method of exposition suggests a further, methodological site where film matters to political theory: the stochastic serialization of moving images in film provides political theory with a genre for elaborating ideas that is not reducible to the analytics of causal argument. (shrink)

Davide Panagia’s Impressions of Hume: Cinematic Thinking and the Politics of Discontinuity is volume fifteen of Modernity and Political Thought, the Rowman & Littlefield series in contemporary political theory.

In _Rancière’s Sentiments _Davide Panagia explores Jacques Rancière’s aesthetics of politics as it informs his radical democratic theory of participation. Attending to diverse practices of everyday living and doing—of form, style, and scenography—in Rancière’s writings, Panagia characterizes Rancière as a sentimental thinker for whom the aesthetic is indistinguishable from the political. Rather than providing prescriptions for political judgment and action, Rancière focuses on how sensibilities and perceptions constitute dynamic relations between persons and the worlds they create. Panagia traces this approach (...) by examining Rancière’s modernist sensibilities, his theory of radical mediation, the influence of Gustave Flaubert on Rancière’s literary voice, and how Rancière juxtaposes seemingly incompatible objects and phenomena to create moments of sensorial disorientation. The power of Rancière’s work, Panagia demonstrates, lies in its ability to leave readers with a disjunctive sensibility of the world and what political thinking is and can be. (shrink)

This paper is a study of the place of luminosity in the films of Michael Mann and the way in which luminosity is not a tool of illumination but a radiance that signals the bodying forth of appearances. The event of luminosity in Mann's films is an attempt to re-imagine the conventional value structures that create a link between film and indexicality, as if his admiration for the photoreal effects of film belies an insistence that the advenience of an appearance (...) is what eventuates when objects ingress between reference and expression, between realism and dream. By using the most advanced high definition digital cameras to film his nightscapes - and his movies more generally - Mann defeats the illuminatory and transcriptual demands of a filmic iconography that rely on the power of light to tether a representation to a thing in the world. In doing so, however, he neither refuses nor rejects the power of representation as such. His picturing of luminous nightscapes in cities, for instance, transubstantiates the objecthood of urban spaces so that the iridescence of the lights makes the city feel at once vivid and unlike any object that might exist in the world. I conclude that Mann's commitment to filming luminosity presents a problem to the dominant methodologies for the analysis of aesthetics and politics that offer a moral theory of the image. Michael Mann's films, finally, offer an alternative to the moral theory of the image: a politics of appearances rooted in the experience of advenience. (shrink)

The mob, when they are gazing at a dancer on the slack rope, naturally writhe and twist and balance their own bodies, as they see him do, and as they feel that they themselves must do if in his situation. I begin with an epigraph from Adam Smith in order to make apparent the structuring conceit of this essay, which is the following: the matter of assemblages are here considered within the context of modern tradition of moral sentimentalism and its (...) considerations of the affective, associational dynamics that dispose of collectivities. At root in these reflections is my inclination to return to the original French term in the work of Gilles Deleuze and Félix Guattari that sources our English... (shrink)