Discussing the critique of “the new communism” in the Guardian recently, Stuart Jeffries wrote that the fear is that “nasty old left farts” such as Jacques Rancière “will corrupt the minds of the innocent youth.” In conversation with Jeffries, however, Rancière himself defends the relevance of his and his contemporaries’ thinking in 2012, explaining:
“The gravediggers are still here, in the form of workers in precarious conditions like the over exploited workers of factories in the far east. And today’s popular movements – Greece or elsewhere – also indicate that there’s a new will not to let our governments and our bankers inflict their crisis on the people.”
Visit the Guardian to read the article in full.
In a fiery critical call for solidarity, rich with the language of class war, a number of European academics and artists call for a campaign of solidarity with the Greek people and a launch against the dehumanising and aggressive ideology of technocratic austerity.
"[T]he future of democracy and the fate of European nations are in question" under the restructuring of Greek debt and the "endless, devastating bailouts", according to the authors, who include French academics Alain Badiou, Etienne Balibar, Jacques Ranciere and more. Public assets are being carved up for privatisation under the oversight of the troika, producing vast wealth for the international buyers but failing to address the sovereign debt crisis at all: "it has literally exploded into free fall in approaching 170% of GDP, while in 2009 it represented more than 120%".
Drawing on the work of Jacques Ranciere and Erik Olin Wright, Vince Carducci at Deliberately Considered has written a remarkable reflection on the renewed experience of aesthetic and political community in Detroit. In the face of decades of blight and increased "demassification," the city has, in a stunning dialectical movement, recently begun to witness an unprecedented creative flourishing and reclamation of the city's downtown space. In his article, Carducci points to the ways that the city's neglected spaces, foreclosed homes and abandoned buildings have suddenly come to "open up a new field of cultural production" that has, of late, encouraged young artists to repurpose them and, in effect, reimagine and assert a robust new understanding of the "commons". That is, by using as their raw material the virtually abandoned ruins of the city, artists in Detroit are seizing opportunities to use them to boldly re-articulate new understandings of what public space, community and urban experience mean to them today.