This book studies the tension between arts and politics in four contemporary artists from different countries, working with different media. The film directors Luc and Jean-Pierre Dardenne film parts of their natal city to refer to specific political problems in interpersonal relations. The novelist Arundhati Roy uses her poetic language to make room for people's desires; her fiction is utterly political and her political essays make place for the role of narratives and poetic language. Ai Weiwei uses references to Chinese history to give consistency to its 'economic miracle'. Finally, Burial's electronic music is firmly rooted in a living, breathing London; built to create a sound that is entirely new, and yet hauntingly familiar. These artists create in their own way a space for politics in their works and their oeuvre but their singularity comes together as a desire to reconstruct the political space within art from its ruins. These ruins were brought by the disenchantment of 1970s: the end of art, postmodernism, and the rise of design, marketing and communication. Each artwork bears the mark of the resistance against the depoliticisation of society and the arts, at once rejecting cynicism and idealism, referring to themes and political concepts that are larger than their own domain. This book focuses on these productive tensions.

This book studies the tension between arts and politics in four contemporary artists from different countries, working with different media. The film directors Luc and Jean-Pierre Dardenne film parts of their natal city to refer to specific political problems in interpersonal relations. The novelist Arundhati Roy uses her poetic language to make room for people's desires; her fiction is utterly political and her political essays make place for the role of narratives and poetic language. Ai Weiwei uses references to Chinese history to give consistency to its 'economic miracle'. Finally, Burial's electronic music is firmly rooted in a living, breathing London; built to create a sound that is entirely new, and yet hauntingly familiar. These artists create in their own way a space for politics in their works and their oeuvre but their singularity comes together as a desire to reconstruct the political space within art from its ruins. These ruins were brought by the disenchantment of 1970s: the end of art, postmodernism, and the rise of design, marketing and communication. Each artwork bears the mark of the resistance against the depoliticisation of society and the arts, at once rejecting cynicism and idealism, referring to themes and political concepts that are larger than their own domain. This book focuses on these productive tensions.

Your one-stop guide to poststructuralism: where it came from, what it's achieved and where it's going. Written by experts in their field, this important reference volume surveys the challenges and provocations raised by the major voices of poststructuralism: Foucault, Deleuze, Derrida, Cixous, Lyotard, Guattari, Kristeva, Irigary, Barthes and Baudrillard. Thematically organised and clearly written, it will guide students in philosophy, literature, art, geography, politics, sociology, law, film and cultural studies around the nature and contemporary relevance of poststructuralism. It explores the emergence of poststructuralism, from its origins in Marxism and structuralism to its global academic impact. It includes chapters that are arranged by theme and topic, showing which ideas captivated poststructuralist thinkers. It looks at the criticisms of poststructuralism. It investigates the new trends and recent debates within and around poststructuralism.

This new translation of four revised radio interviews, conducted in December 2002 at France Culture with Elie During, is the best introduction to Stiegler's Time and Technics series. This collection includes a new interview conducted specially for this volume and an interview with Artpress from 2001. In Philosophising By Accident, Stiegler introduces some of the key arguments about the technical constitution of the human and its relation to politics, aesthetics and economics. He reads philosophical texts from the perspective of his controversial thesis about the three types of memory and speaks about concepts central to his later works, such as synchrony/diachrony, grammatisation and the industrial temporal object.

In this book of interviews, conducted in 2002 by Elie During, Bernard Stiegler discusses the reasons that motivated him to develop his philosophy of technics. Divided into four parts, Philosophising by Accident introduces some of the key points in Stiegler's argument about the technical constitution of the human, and its relation to politics, aesthetics and economics. Stiegler presents his original analysis of Plato and the beginning of philosophy in relation to the tragic culture, the method of dialectics and metaphysics. He also reads philosophical texts from the perspective of his controversial thesis about the three types of memory, and refers to concepts central to his later works such as synchrony/diachrony, grammatisation and the industrial temporal object. While contemporary times call us to examine and analyse technical tools and new technologies, Stiegler argues that philosophy has, from its very origins, repressed technics, and examining rigorously the evolution of technics and its effects on the human, will provide us with greater insights into what it means to be human.