Migration, understood as the movement of people and cultures, gives impetus to globalisation and the transculturation processes that the interaction between people and cultures entails. This book addresses migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The book also explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, and its representations of forced migration. Transculturality indicates a certain quality (of an idea, an object, a self-perception or way of living) which joins a variety of elements indistinguishable as separate sources. The topic of migration is permeated not only with political but also with ethical urgencies. The most telling sign of how profoundly the mobility turn has affected the visual arts is perhaps the spread of the term global art in the discourses on art, where it is often used as a synonym for internationally circulating contemporary art. The book examines interventions by three artists who take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. The book also looks at the politics of representation, and particularly the question of how aesthetics, politics and ethics can be triangulated and balanced when artists seek to make visible the conditions of irregular migration.
This book focuses on the paradoxical character of law and specifically concerns the structural violence of law as the political imposition of normative order onto a "lawless" condition. The paradox of law which grounds and motivates Christoph Menke's intervention is that law is both the opposite of violence and, at the same time, a form of violence. The book develops its engagement with the paradox of law in two stages. The first shows why, and in what precise sense, the law is irreducibly characterized by structural violence. The second explores the possibility of law becoming self-reflectively aware of its own violence and, hence, of the form of a self-critique of law in view of its own violence. The Book's philosophical claims are developed through analyses of works of drama: two classical tragedies in the first part and two modern dramas in the second part. It attempts to illuminate the paradoxical nature of law by way of a philosophical interpretation of literature. There are at least two normative orders within the European ethical horizon that should be called "legal orders" even though they forego the use of coercion and are thus potentially nonviolent. These are international law and Jewish law. Understanding the relationship between law and violence is one of the most urgent challenges a postmodern critical legal theory faces today. Self-reflection, the philosophical concept that plays a key role in the essay, stands opposed to all forms of spontaneity.
invisible to standard accounts, but ever-present in the young lives of Connell and Marianne. Sally Rooney has written a classic novel that speaks to the eternal mysteries of adulthood and sex, but the dominating transformative force in this story is the brutality of violence, and our efforts to normalize it. Conclusion Of the long hours of binge watching that marked the experience of many people during the endless days of lockdown, the twelve episodes aired on the BBC and RTÉ of Sally Rooney’s Normal People will probably be the stand-out memory for those lucky
becomes a transforming force.” 14 Du Bois was a scholar with big international ideas about how racial oppression operated across the globe. He transmitted these thoughts through scholarship and addresses in the public sphere. He also possessed fire in the belly which led him to utilise these ideas in collective struggles to liberate the black world from the tentacles of oppression wielded by white elites sitting atop Western ivory towers. A key weapon in Du Bois’s arsenal was Pan-Africanist thought and the liberation movements that these
communities – and compiles these different perspectives into a short but vibrant history of drone art. Using drone art and aesthetics as a critical lens to investigate the diversity of drone technology, its ethical implications, its embodied affects and its impact on social life, we therefore hope that the following chapters will give new insights into the highly vibrant and multifaceted area of drone research. Only through a thorough engagement with past, present and future drone imaginaries can we use aesthetic works as a transformative force to imagine and
Benjamin, among others (2). I will then discuss an additional argument for the irreducibility of violence in law that Menke has presented in a different context, namely the claim that violence in law is necessary in order to deploy a socially transformative force (3). Finally, I will argue that Benjamin’s demand to “depose” law, understood as a liberation of law from violence, is not only able to serve as a common denominator of the goals of current social movements against state-sanctioned violence such as prison abolitionism or the Black Lives Matter movement, but
the colonizers are at least as much affected by the ideology of colonialism, and that their degradation, too, can sometimes be terrifying. 62 Nandy, notably, depicted colonialism not as a condition but as a process. Whereas Mannoni had suggested that empire attracted certain kinds of people, Nandy stressed the transformative force
’. Boundaries were reinforced and divisions entrenched by a failure to systematically confront conflict and thereby provide recognition to minority communities. An intervention of ‘constructive intolerance’ of the perpetrators would have demonstrated acceptance and recognition of the Roma community. Progressive intolerance: a potential transforming force towards recognition The experience of a Lithuanian woman – named Rasa for the purposes of our analysis – demonstrates how progressive intolerance can be beneficial for all parties. It involves the investment of emotions and a
the story. The transformative force of such encounters lay in the affective dynamics of the small group over the duration of the many months of the course. These moments had their most profound impact through the event of the group exchange. As one group analyst writes: it might not be the interpretation as such that creates change but rather the event or what she calls the ‘mutative moment’ of an encounter with someone else in the group.29 There is always more at stake in these group exchanges than any one of its members can grasp. Complex and condensed
collective, political, and transformative force to a historical aesthetic influence. Why has there been a tendency to ignore the long life and international parameters of surrealist cinema? It is likely not possible to arrive at an exact explanation, but there are intimations of certain causes, some of which are generally relevant for surrealism studies and some of which are specific to film studies. Thompson and Bordwell’s dating of surrealism’s demise to 1933 is an extreme variation of the tendency of scholarship in all fields to claim that surrealism ended with the