The Right to Look

Desde la recuperación del proyecto de la visualidad como justificación estética de la dominación, el presente artículo defiende el derecho a mirar como la capacidad de confrontar los mecanismos visuales sobre los que se ha venido asentando el ejercicio de poder en momentos históricos concretos. Para ello, se lleva a cabo un recorrido a partir de los distintos complejos de visualidad, desde las plantaciones esclavistas y sus dispositivos de vigilancia hasta la violencia militar-industrial de nuestros días ejercida a través de drones, con el fin de dibujar una intensificación de la visualidad y su evolución contemporánea hacia una forma necropolítica.The following article defends the right to look in the face of visuality understood as the aesthetic justification of domination; an aesthetics of the proper, of duty. In this context, the right to look is conceived as a right to oppose the visual mechanisms that sustain power at different historical junctures. Different complexes of visuality are identified from surveillance methods at slave plantations to current military-industrial violence exerted by unmanned aerial vehicles in a contemporary intensification of visuality towards necropolitical forms of power

THE RIGHT TO LOOK

I want to claim the right to look. This claim is, neither for the first nor the last time, for a right to the real. It might seem an odd request after all that we have seen in the first decade of the twenty-first century on old media and new, from the falling of the towers, to the drowning of cities, and to violence without end. The right to look is not about merely seeing. It begins at a personal level with the look into someone else’s eyes to express friendship, solidarity, or love. That look must be mutual, each inventing the other, or it fails. As such, it is un-representable. The right to look claims autonomy, not individualism or voyeurism, but the claim to a political subjectivity and collectivity: “the right to look. The invention of the other.

EMPTY THE MUSEUM, DECOLONIZE THE CURRICULUM, OPEN THEORY

This essay reviews the possibility of the space of appearance under the authoritarian nationalism that has been ushered in by Brexit and the election of Donald Trump. For those working in and around higher education, I propose that the tasks with which we should begin are: decolonizing the curriculum; emptying the museum; and opening theory. Each of these categories has both a history in past resistance and liberation movements and a present-day dynamic that is explored here from the South African Rhodes Must Fall movement via Occupy Wall Street to the Free University and Antiuniversity

Pictorial sign and social order : L'Académie Royale de Peinture et Sculpture 1638-1752

In my doctorate, I have sought to question the establishment of the Academy in France along two particular lines of enquiry. I considered why the government established a state institution for the arts and how and why it sought to influence artistic production. Under Richelieu, artistic initiatives were subordinated to the requirements of factional court politics. But after the upheavals of the Fronde (1648-53), the monarchy created the Absolutist court in which aesthetics were politics. In the phrase used by the logicians of Port-Royal: Le portrait du Cesar, c'est Cesar". The increased political importance of the image coincided with a radical re-evaluation of sight and its representation in the visual image, following the work of Descartes. I therefore set out to analyse the debates in and around the Academy concerning theories of vision and their implication for the artist. I found the Academy resisted Cartesian and perspectival theory and expelled its first Professor of Perspective, Abraham Bosse, in a dispute which sheds much light on its institutional and theoretical base. Far from being an easy Academic victory, the dispute required the intervention of Colbert himself. Insteadof the Desarguian perspective championed by Bosse, the Academy's theorist, Gregoire Huret sought to control the pictorial sign through gender difference. But his theory contained too many prohibitions to be of practical use to artists. It was not until the Academy was pushed by the government into accepting the Modern theories of Roger de Piles that a gap opened between nature and its representation in which artists could operate. These two histories were closely linked, for it was not until the Academy found a means of representing its theory in the work of Watteau and the fête galante artists, that it achieved institutional security. The final chapter of my thesis analyses Watteau's work as a resolution of the long-standing theoretical uncertainty in the Academy over the status of the visual image. In an epilogue, the rapid death of the fete galante as a genre is shown to mark the end of this chapter of Academic history. In elucidating the often complex artistic theories in early modern France, I have made use of the methodology and theory of contemporary French thinkers such as Louis Mann, Michel Foucault and Jacques Derrida. Their insights have helped me appreciate the complexity and vitality of Academic thought which has so often been readily dismissed as sterile scholasticism. The painters of the Academy were also theorists. In that sense, we have much to learn from them

Concrete stories, decomposing fictions: Body parts and body politics in Ahmed Saadawi’s Frankenstein in Baghdad

This essay reads the English translation of Ahmed Saadawi’s novel Frankenstein in Baghdad (2018) to explore the “concrete stories” and “infrastructural narratives” devised by the US military in support of its occupation of Baghdad. By stitching together a city and society littered with composing and decomposing fictions, Saadawi’s novel reveals how biopolitical governance produces, contra the hegemonic US war story of security consolidation and societal stabilization, pervasive insecurity instead. Saadawi’s “decomposing fictions”, as I call them, operate on three homologous terrains: the (de)composition of the city; the (de)composition of the body; and the (de)composition of the narrative itself. Through this three-tired conflation, Saadawi shows how body parts are biopolitical, and how narratives actively and materially reshape human bodies and urban infrastructures. The essay therefore argues that the novel aligns with a critical posthumanist perspective, one that allows for a more rigorous consideration of narrative systems (including fictions) as constitutive of and impactful upon human and non-human bodies and urban infrastructures than other concepts, such as “planned violence”, have so far allowed. By theorizing a more complex relationship between narrative form and the built environment in the contexts of militarized colonial and biopolitical urban governance, the essay shows how Saadawi’s novel not only challenges the “imaginative geographies” of the colonial present, but its material infrastructures as well

Artificial cell research as a field that connects chemical, biological and philosophical questions

This review article discusses the interdisciplinary nature and implications of artificial cell research. It starts from two historical theories: Gánti's chemoton model and the autopoiesis theory by Maturana and Varela. They both explain the transition from chemical molecules to biological cells. These models exemplify two different ways in which disciplines of chemistry, biology and philosophy can profit from each other. In the chemoton model, conclusions from one disciplinary approach are relevant for the other disciplines. In contrast, the autopoiesis model itself (rather than its conclusions) is transferred from one discipline to the other. The article closes by underpinning the relevance of artificial cell research for philosophy with reference to the on-going philosophical debates on emergence, biological functions and biocentrism