Practical political relations according to Luce Irigaray ground the possibilities for emerging to a new political epoch. She articulates that in order to move toward a more peaceful and emancipated politics, philosophers must focus more on subject-subject relations as opposed to subject-object relations. This in turn promotes the possibility of relating to a naturally and culturally different other. She also elaborates how an emancipated politics demands initially and primarily grounding subjectivity in the two, rather than in individuality or collectivity. This (...) is in contrast to classical liberalism which conceives of a social contract between individual agents who relate through mediations of property. Her philosophy conceives of refounding politics not only in the sphere of public government, but also in the traditionally private domestic sphere, which must become politically awakened. She articulates ways of refounding the family and the couple mediated first by relations between two, and liberating the family from its primary role as the material ground of society. Irigaray suggests that political relations at all levels must be rooted in difference rather than sameness, starting with recognizing sexual difference. Establishing such conditions involves creating civil protections and rights, especially for women, and establishing contexts nurturing to desire, including cultivating sensitivity and attending to sensible differences. Liberating contemporary politics from competitiveness and violence, and providing favorable conditions for peace, demands first attending to cultivating difference and fostering relations between two. (shrink)

Drawing on a series of exhibitions curated and installed at the Canadian Centre for Architecture in Montréal throughout the 1990s and the early millennium, this essay analyzes how architecture and its representation in museological exhibitions have innovated forms of communication and display practices, transcending the traditions established by the fine arts paradigm since the late eighteenth century. The author argues that in addition to providing a heightened recognition of the narrative and performative potential of the exhibitionary setting, the discourses and (...) tensions specific to architecture and architectural practice have led to a rethinking of the communicative potential of the exhibition environment. Principles inherent to architecture—spatiality, materiality, and the experiential—are fruitful when considering the possibilities of exhibition design to elucidate multiple levels of meaning, and these principles have led to architecture’s coming-of-age in the museological environment in ways that are specific to re aedificatoria—the art of building itself. (shrink)