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The theatre of madness
Stuart Elden

. However, political thought had, Foucault suggested, not kept up with this development. Instead of following the practice where power became more dispersed and not concentrated in a single place, Foucault felt that the political thought of his time was still in thrall to that earlier model of power. This is the reason behind his famous claim that ‘in political thought and analysis

in Foucault’s theatres
Tracey Nicholls

discussion of Foucault’s attempt to think beyond secular politics, to think about spirituality as a site – or perhaps, as a constitutive attitude? – for revolutionary solidarity, emphasises the centrality of Iran’s theocratic revolution within Foucault’s later political thought, a connection they noted is the central focus of Janet Afary and Kevin B

in Foucault’s theatres
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Musical timekeeping and the security.state
Steve Potter

synchronisation is not needed. If we can speak of a general aesthetic economy of security in the twentieth-century neo-avant-garde, it is curious that in political thought and practice this mechanism of power emerged 150 years earlier. Can it be that music praxis is, in at least this one sense, mirroring a society that has ceased to exist? Discipline as mere fun

in Foucault’s theatres