Michel Henry: Barbarism (1987/2012)

Barbarism represents a critique, from the perspective of Michel Henry’s unique philosophy of life, of the increasing potential of science and technology to destroy the roots of culture and the value of the individual human being. For Henry, barbarism is the result of a devaluation of human life and culture that can be traced back to the spread of quantification, the scientific method and technology over all aspects of modern life. The book develops a compelling critique of capitalism, technology and education and provides a powerful insight into the political implications of Henry’s work. It also opens up a new dialogue with other influential cultural critics, such as Marx, Husserl, and Heidegger.

First published in French in 1987, Barbarism aroused great interest as well as virulent criticism. Today the book reveals what for Henry is a cruel reality: the tragic feeling of powerlessness experienced by the cultured person. Above all he argues for the importance of returning to philosophy in order to analyse the root causes of barbarism in our world.

Originally published in French as La Barbarie by Editions Grasset & Fasquelle, 1987
Translated by Scott Davidson
Publisher Continuum, London/New York, 2012
Volume 95 of Continuum Impacts
ISBN 1441132651, 9781441132659
168 pages

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Amber Hickey (ed.): A Guidebook of Alternative Nows (2012)

A Guidebook of Alternative Nows is a collaboratively created book.

34 visionary creative thinkers and makers contributed to this book which illuminates ways of devising more socially, economically, and ecologically just versions of now.

Contributors: Alex Kemman (The Valreep Collective), Annie Sprinkle and Beth Stephens, Artist Bailout Collective, Billy Mark, Cheyenna Weber (SolidarityNYC), Antonio Scarponi (Conceptual Devices), Critical Art Ensemble, Ethan Miller, Fallen Fruit (David Burns, Matias Viegener, and Austin Young), Georg Hobmeier and Tommy Noonan, Howling Mob Society, Jeanne van Heeswijk, Jenny Cameron, Johannes Grenzfurthner (Monochrom), Marc Herbst and Christina Ulke (Journal of Aesthetics & Protest Editorial Collective), Justseeds Artists’ Cooperative, Ken Ehrlich and Kate Johnston, Llano Del Rio Collective, New Social Art School, Platform, Rori Knudtson (School of Critical Engagement), Santiago Cirugeda (Recetas Urbanas), Sasha Costanza-Chock, SPURSE, swearonourfriendship, T.J. Demos, Temporary Services, The Laboratory of Insurrectionary Imagination, Precarious Workers Brigade, The Vacuum Cleaner, The Yes Men, TradeSchool.coop, UrbanFarmers, Watts House Project.

Publisher The Journal of Aesthetics and Protest Press, 2012
ISBN 978-0-615-64972-6
266 pages
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TkH (Walking Theory), 19: Politicality of Performance (2011) [Serbian/English]

“In a broader historical perspective, the social position of art seems relatively marginal, which could serve as a possible starting point to think about what the politicality of performance might mean today. It seems that the political relevance of art has become disputable, due to its commercialisation and commodification by the entertainment and creative industries, the mass media’s at least partial appropriation of its political relevance, and an overall “aestheticisation of life” in the 20th century, to name only a few possible factors. But at the same time, the topic itself has been attracting more and more theoretical and artistic attention. We devote this issue of the TkH journal to the topic of the politicality of performance because we want to open up more space for thinking about these two seemingly irreconcilable tendencies. The discussion may include (but is not limited to) questions such as the following: What is the meaning of these notions nowadays and how are they disconnected or interconnected? Why do we find the proposed topic important or, to put it simply, why is there such a preoccupation with the political in the performing arts today? Might it merely be an alibi concocted to secure the support of public funds and various other foundations? Maybe it is just a desperate attempt to be recognised as a socially relevant practice instead of being dismissed as an elitist type of entertainment? Or is it just the neo-liberal capitalist state of affairs, which blurs the borders between different social practices and where some old questions – such as how we practise politics and where politics is located today – are still waiting for an answer?” (from the introduction)

The topic of this issue was researched in the context of TkH project “Performance and the Public” produced at Les Laboratoires d’Aubervilliers.

With contributions by Sezgin Boynik, Gregory Sholette, Grupa Umetnost kao politika/Group Art and/as Politics (Aneta Stojnić, Ana Isaković, Marko Đorđević i Sava Jokić), Aleksandra Jovićević, Bojana Kunst, Aldo Milohnić, Gerald Raunig, Janelle Reinelt, Jelena Vesić, Ana Vujanović.

TkH, Journal for Performing Arts Theory, 19
Edited by Ana Vujanović and Aldo Milohnić
Published by TkH (Walking Theory) theoretical-artistic platform, Belgrade, December 2011
Creative Commons License BY-NC-SA 3.0 Serbia
ISSN 1451-0707
164 pages

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