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Running down the wrong road

Vijay Prashad considers the regional alternative to troop escalation in Afghanistan, and suggests its neighbours are ready to take on the burden of stabilising the country - but only if the US doesn't use their efforts to build its empire. This article has been cross-posted from THE SAMOSA More US troops are being prepared for Afghanistan. The President charged…

ByVijay PrashadFebruary 7, 20240Comments

INTERVIEWS Uncategorized

‘The Politics of Aesthetics’: Jacques Rancière Interviewed by Nicolas Vieillescazes

Translation by Anna Preger Art and politics N.V.: Your thought mainly revolves around mechanisms of inclusion and exclusion, around a great divide defining positions and shares, determining who may and who may not take part in an activity (primarily, in political practice), and which you term, in recent works, “the distribution…

ByJacques RanciereFebruary 7, 20240Comments

On Frantz Fanon

Forward to Black Skin, White Masks By Zia Sardar. Black Skin, White Masks by Franz Fanon, Pluto, London, 2008 http://www.plutobooks.com/cgi-local/main.pl I think it would be good if certain thing were said Franz Fanon. Fanon and the Epidemiology of Oppression (Direct quotations from Black Skin, White Masks are set in italics) The opening gambit of Black Skin, White Masks ushers us…

ByZia SardarFebruary 7, 20240Comments

INTERVIEWS Uncategorized

‘Between Art and Life’: NP Interview with Arthur Danto

From Naked Punch 03, Summer, 2005. NP: We’re familiar with the discontinuity between art produced before, say, the 14th century, and art produced after that period, with the earlier work being almost exclusively religious or devotional in character. The devotional and religious meanings really structured people’s relations to this art: their artistic character didn’t enter into their production,…

ByArthur DantoFebruary 7, 20240Comments

Beyond the Page – Hammad Nasar on Contemporary Pakistani Art

Jan. 12, 2008 From issue 10 of Naked Punch Review Juliana Cerqueira Leite: Peter Weibel has described the curator as a 'producer' –defined here by the producer’s role in film: commissioning writers, actors and directors to realize an idea. [“A cinema producer says 'I have an idea but I need a scriptwriter, I need a director,…

ByJuliana Cerqueira LeiteFebruary 7, 20240Comments

Violent Thoughts About Slavoj Zizek

Slavoj Zizek has been telling lies about me. He attacked a recent book of mine, Infinitely Demanding, in the London Review of Books.[1] Since then, things have gone from bad to worse, but I will spare the reader the grisly details. What I would like to do here is to use this debate as a lever for trying…

BySimon CritchleyFebruary 7, 20240Comments

The Violent State

Whose headless body is this Whose scarlet shroud Whose torn and wounded cloak Whose broken voice? (1) I Meditations on violence The macho encounter between Simon Critchley and Slavoj Zizek over competing ethics of violence staged in the recent Naked Punch Supplement left me with the distinct feeling that violence is too important a matter…

ByRobert YoungFebruary 7, 20240Comments

Human Beings and (Other) Animals

Can philosophy make room for animals? Perhaps that is the only question I want to ask in this paper. My worry is that the language of philosophy has kept us in a cage as far as animals are concerned. Philosophy thinks it knows how to keep animals out, and it thinks that if we let…

BySimon GlendinningFebruary 7, 20240Comments

LEARN TO LIVE WITHOUT MASTERS.

AN INTERVIEW WITH SLAVOJ zIZEK BY OSCAR GUARDIOLA-RIVERA London, November-December 2007 1. GETTING RID OF THE BIG OTHER. OGR: It seems as if, in the end, your philosophical and political project is to break through the various impasses of extrinsic vs. intrinsic accounts of everything, from cinema to science and politics, without playing to the…

BySLAVOJ ZIZEKFebruary 7, 20240Comments

To be or not to be is not the question â€“ On Beckettâ€™s Film

We never know self-realization. We are two abysses – a well staring at the sky. (Fernando Pessoa, The Book of Disquiet) Samuel Beckett wrote just once for the cinema. Film was written in 1963 and first shown publicly in 1965, forty years ago (Beckett 1986, 321-334). Film was shot in New York in 1964, with the opening external shots in Lower…

BySimon CritchleyFebruary 7, 20240Comments