On the ruins of the historical avant‐garde: The institution of art and its contemporary exigencies

The focus of this theoretical paper is the analysis of the European historical avant‐garde as an excess of modernism. As such, its goal was two‐fold. First, it tried to transcend the institution of autonomous art and second, it attempted to integrate art into everyday life. In this light, the paper presents the contingencies of the genesis and main features of the historical avant‐garde's doctrine and practice. It further argues that the historical avant‐garde ended in a collapse of the aesthetic and practical dimension without corresponding emancipation. This failure, in turn, laid down the groundwork for the post‐modern art which appropriated the stylistic and formal innovations of historical avant‐garde while comfortably remaining within the institution of art. Thus, the post‐modern betrayal of the values embedded in avant‐garde and modernist works of art appears to be a necessity.     

The governmentalities of neoliberalism: panopticism,post‐panopticism and beyond

This paper draws on the writings of Michel Foucault, in particular his lectures on biopolitics at the Collège de France from 1978–79, to examine liberalism and neoliberalism as governmental forms that operate through different models of surveillance. First, this paper re‐reads Foucault's Discipline and Punish in the light of his analysis of the art of liberal government that is advanced through the course of these lectures. It is argued that the Panopticon is not just an architecture of power centred on discipline and normalization, as is commonly understood, but a normative model of the relation of the state to the market which, for Foucault, is ‘the very formula of liberal government’. Second, the limits of panopticism, and by extension liberal governance, are explored through analysis of Gilles Deleuze's account of the shift from disciplinary to ‘control’ societies, and Zygmunt Bauman's writings on individualization and the ‘Synopticon’. In response to Deleuze and Bauman, the final section of this paper returns to Foucault's lectures on biopolitics to argue that contemporary capitalist society is characterized not simply by the decline of state powers (the control society) or the passing down of responsibilities from the state to the individual (the individualization thesis), but by the neoliberal marketization of the state and its institutions; a development which is underpinned by a specific form of governmentality. In conclusion, a four‐fold typology of surveillance is advanced: surveillance as discipline, as control, as interactivity, and as a mechanism for promoting competition. It is argued that while these types of surveillance are not mutually exclusive, they are underpinned by different governmentalities that can be used to address different aspects of the relationship between the state and the market, and with this the social and cultural logics of contemporary forms of market capitalism more broadly.     

Ilyenkov on Aesthetics: Realism,Imagination, and the End of Art

It is sometimes claimed that Evald Ilyenkov's writings, particularly those on the problem of the ideal, best express the philosophical framework of Russian cultural-historical psychology and activity theory. In this article I consider a neglected part of Ilyenkov's legacy: his work on aesthetics. Ilyenkov's writings on art cast significant light on his views of culture and mind and on the humanistic vision at the center of his philosophy. In 1964, on a rare trip to the West, Ilyenkov visited an exhibition of pop art in Vienna. He was disgusted by what he saw and wrote a scathing critique entitled "Chto tam, v Zazerkal'e?" ("What's there, through the looking glass?"). Does Ilyenkov's antipathy to pop-and, indeed, to so-called modern art in general-show him to be enamored of a narrow, reactionary form of socialist realism? If so, how can this be squared with his reputation as a creative, critical voice within Soviet Marxism? I examine Ilyenkov's other writings on aesthetics in search of a nuanced interpretation of his reaction to pop. I consider his idea that art should serve to cultivate higher forms of perception and his attendant concepts of aesthetic sensibility and imagination, and I explore how these notions contribute to his view of the unity of the cognitive virtues, his hostility to the division of labor, and his ideal of genuine human activity, guided by reason. Such themes are vital constituents of Ilyenkov's humanism, which celebrates free, creative activity as a life principle that must assert itself against the mortifying forces of mechanization and standardization. Although these ideas may not entirely redeem Ilyenkov's hostility to modern art, they reveal his stance to be far more sophisticated than appears at first sight.     

The power of discourse: Michel Foucault and critical theory

Abstract

The debate that contrasts Marxism and the work of Michel Foucault often overlooks that both projects share a political and ethical commitment. Both have moreover engaged that commitment by challenging what Marx called ‘traditional ideas’, viewing them as historically compilcit with the exercise of power. This ‘radical rupture’ with traditional ideas has been the hallmark of the critical theory project since The Communist Manifesto. By challenging traditional notions of power and language, however, Michel Foucault went further than the Marxist tradition in carrying out the critical theory project. Foucault's alternative ideas of discourse/practice and of power as ‘positive’ are moreover intricately linked in a way that has not been sufficiently appreciated. This is evident in a genealogy of Foucault's early work, where neither notion is able to take hold in the absence of the other. It only after The Archaeology of Knowledge, where Foucault rethought the relationship of language to reality, that he was able to formulate the notion of power as positive in works to come. This link should cause us to rethink our relationship to Foucault's work, of it to Marxism, and of the critical theory project to the power.     

Applying Post-structuralist Ideas to Empowerment: Implications for Social Work Education

In this article we reflect on the trouble we have encountered while teaching post-structuralist ideas to students who privilege empowerment as a theoretical position. We briefly define empowerment theory and outline its modernist anchoring. We introduce Foucault's analysis of power to critique and examine the discursive practices of how power operates when some students talk about empowerment theory. This examination of power as applied to empowerment theory then supports our argument that post-structuralist ideas can be of benefit in social work education and practice and not just a slippery theoretical positioning where anything goes. The aim of this paper is to open space to see the way post-structuralist theory unsettles taken-for-granted assumptions when social work students foreground empowerment theory. We are not arguing that empowerment theory nor power are good or bad but that they are dangerous when we fail to reflect on and critique how we apply them in practice.     

Sociological discourse of the relational: the cases of Bourdieu & Latour1

Pierre Bourdieu's approach to sociology has been so widely recognized as being innovative that his innovations can be said to have been academically incorporated to the degree of having‐been‐innovative. On the other hand, the more recent work of Bruno Latour seems to offer a fresh innovative impetus to sociology. Over against Bourdieu's relational sociology, Latour's relationist sociology overcomes the subject‐object dichotomy, and abandons the notions of ‘society’ and ‘the social’. In this contribution, a comparison is made between the ideas of Bourdieu and Latour on the question of what sociology should look like, specifically focusing on their respective ideas on what can be called the relational. A Latourian critique of Bourdieu is provided, as well as a Bourdieusian analysis of Latourian sociology. Rather than ending up with two different ‘paradigms’, an attempt is made on the basis of Foucault's archaeology of discourse to view Bourdieusian and Latourian sociology as distinct positions within a discourse on the relational.     

A conversation on madness: Foucault and Ripa

Written as a fictitious dialogue between two of this generation’s most prolific social theorists, this unique analysis explores the similarities and divergences of Michel Foucault’s and Yannick Ripa’s scholarship on madness. During an imagined meeting at a local café, a spirited dialogue emerges addressing mutual agreement and unwavering criticism of each author’s perspective of how madness was constructed and managed throughout the classical and Victorian eras. Ripa’s primary motive is to challenge Foucault for ignoring the feminine critique within his over-arching theories of social and patriarchal systems of control. On the other hand, Foucault’s vested interest is to explore Ripa’s narrowed historical scope that he feels was essentially built upon his own scholarship without acknowledgement. Drawing upon a comparative study of Foucault’s History of Madness and Ripa’s Women and Madness, the two theorists engage in a revealing conversation about aspects of political economy, shifting roles of religious ideology, gender effects, the social construction of insanity, and the historical methods of incarceration.     

Marriage Caretaking and Territorial Justice in an Australian State

Australian Marriage Guidance Councils are rarely considered avant garde. Yet contemporary emphasis on the importance of citizen participation in social service delivery programmes¹ unexpectedly shows them in the vanguard of the new art of mobilizing participatory community services. For more than a quarter of a century now they have been operating as expert guides and counsellors in the difficult territory of marital therapy, mainly using staffs of part-time counsellors drawn from the general community. The magnitude of this feat of maintaining the participatory character of this community service in a potentially rich field for professional exploitation goes largely unacknowledged. It has been pointed out that the professional, “because of his status, commitment and knowledge”,² is in most cases successful in converting citizen participation programmes into the service of his own professional interest. This has always been one of the most intractable problems of any participatory scheme. So far the Marriage Guidance Councils have stayed right on top of this problem.     

Maintaining the simulation model in the era of the ‘social’: The ‘inquiry’ system of Canadian workers' compensation, 1914–1984*

L'oeuvre des auteurs comme Foucault et Baudrillard a mis au défi les théories conventionnelles en sociologie quant au pouvoir de l'état et de l'économie politique. Malheureusement, la recherche au Canada ne s'est peu orientée vers ces études théoriques. Cette communication cherche à démontrer l'utilité des notions de “surveiller” de Foucault et de la “codification” de Baudrillard pour mieux comprendre les composants et les pratiques quotidiennes des commissions des accidents du travail au Canada. The work of theorists such as Foucault and Baudrillard has posed a significant challenge to more conventional sociological frameworks for dealing with issues of state power and political economy. Yet empirical work on the state-political economy relationship in Canada has, so far, made little use of these theoretical insights. In contrast, the specific aim of this paper is to display the usefulness of Foucault's concern with surveillance and Baudrillard's concern with codification so as to better understand the constitutive features and the mundane practices of Canadian workers' compensation boards.     

'The State': A Comment on Abrams, Denis and Sayer

Abstract This paper answers the question,‘what is the state?’as posed in Abrams (1988) and Denis (1989), by examining Sayer's (1987) realist reconception of ‘relations of production’ and their ‘ideal superstructures’. It suggests that Sayer's alternative to ‘traditional’ marxism warrants a reappraisal of the relationship between Marx and Foucault. It concludes that ‘civil society’ and ‘the state’ are Janus-faces of production relations, generated by Foucault's ‘disciplinary practices’.     

Max Weber's Science of Composition

Starting from the recently translated biography of Max Weber by Joachim Radkau, this essay re‐evaluates Weber's “science of reality” in relation to his personality, the cultural context of the early twentieth century, and the position of Weber's thought in the sociological canon. The argument progresses through sequentially enlarged analyses, which propose that Weber's general style of thinking is a type of dissonant composition that places emphasis on the many relationships between cultural reality and the concepts derived from it, and not as much on its content. The logic of such a compositional approach to reality is based on similar principles found in sound and music, which Weber in fact uses in a more latent as well as more active form, to pursue his aim of a style of thinking as “aesthetics of dissonance”. The latter is a sort of “methodological wedge” that pries open the many layers of reality. As such, Weber's “science of reality” is an early “classical” example of a recent and much needed call for a social science as the “art of listening”.     

Foucault and the politics of critical management studies

This paper explores the different ways in which we read Foucault in management and organisation studies but, more particularly, some of the features of his project that we seem often to exclude. In the context of a growing interest in more ‘engaged’ forms of scholarly practice among management academics, we argue that further consideration of Foucault might have something more to offer. Setting the main arguments in context, we suggest an outline of the dominant ways in which we read Foucault: the identities we assign to him. Hence we know Foucault primarily as a social theorist, genealogist, neo‐Weberian, and postmodernist. We then consider some of the engaged aspects of his project, focusing on his emergence as an activist intellectual in the 1970s. Possible implications for critical management scholars are then considered.     

THE "PROBLEM" OF MICHAEL WHITE AND MICHEL FOUCAULT

The following essay proposes to look at the “problem” of the family therapist, Michael White, and the philosopher, Michel Foucault. The problem generally defined is the following: what are the key features of the relationship between Foucault and White? To answer this question, four areas need to be examined. First, it is important to look at the relationship between personal stories and cultural and institutional discourses. Second, there is a need to address the local use of power. Third, attention needs to be paid to the positions of Foucault and White vis-à-vis their respective disciplines. Lastly, the issue of the proper use of Foucault's methodology as applied to family therapy needs to be explored.     

A toolbox for public relations: The oeuvre of Michel Foucault

In this article, we provide a brief introduction to the work of Michel Foucault. Our focus is on the major themes of Foucault's work: discourse, power/knowledge and subjectivity. We demonstrate the rich contribution that Foucauldian theory can make to public relations practice and scholarship by moving beyond a focus on excellence towards an understanding of public relations as a discourse practice with power effects.     

Painting in a Different Kind of Void

The reception of Forrest Bess's work has primarily portrayed the artist as a “visionary” without external influence. By doing this, critics have downplayed the historical and cultural moment of Bess's productions and, subsequently, the well-developed interpretive models available from the history of art. This essay positions Bess and his work within the New York School of painting and its critical discourses of gendered metaphors and heteronormative formal evaluation. Recognizing how the artist participated in the conventions of vanguard painting of this time period offers new insights into Bess's singular style. Bess's works reveal the blind spots created by the visual grammar of Abstract Expressionism in his attempts to figure his repressed same-sex desires.     

Everyday utopianism: Lefebvre and his critics

The strategy of sociocultural critique through the ‘problematization’ or ‘defamiliarization’ of the habitualized character of everyday life is one that is well-established in the literature, especially for adherents of various neo-Marxisms. However, in recent years, several prominent critics have taken issue with the concept of defamiliarization, arguing that the habit-bound, ‘distracted’ and routinized character of the everyday cannot be easily contrasted with, or superceded by, the exceptional or the extraordinary. Such a position, it is suggested, both denigrates the integrity of daily life and promotes a kind of incipient transcendentalism. The work of Henri Lefebvre is often taken to be representative in this regard, and various phenomenologies or pragmatisms are promoted in his stead. In this article, I take issue with such critics, by analyzing Lefebvre’s writings on such key points as his treatment of routine in everyday life, as well as his concepts of totality, dialectics and critique. I end up asserting that, contrary to what is often said, Lefebvre does not promote a dualistic transcendentalism in which daily life is denigrated, but rather an ‘everyday utopianism’ in which routine and creativity, the trivial and the extraordinary, are viewed as productively intertwined rather than opposed. As such, I seek to defend the notion of ‘critique’ vis-à-vis the everyday, and to demonstrate the on-going relevance of Lefebvre’s work, as well as that of the ‘counter-tradition’ that is loosely associated with his name.     

Ethical–aesthetic critique of moral organization: Inspirations from Michael Haneke's cinematic work

This paper looks at the work of the Austrian film-maker Michael Haneke as an inspiration for developing an ethical–aesthetic critique of organization. Haneke's practice of film-making is located in the tradition of an ‘ethical parrhesia’, the courageous and often dangerous ‘truth-telling’, which aims at the transformation of being. Haneke's approach is then illustrated with an analysis of his film The White Ribbon. This example is taken to illustrate an ethical critique of moral organization and for analysing strategies that seek to instigate the open-ended moral reflection. By discussing implications of this form of critique, the paper contributes to the development of a critical aesthetics of organization that seeks to open a reflexive space on how we are formed in social and organizational life, and at what costs.     

THE IMPURITY OF REPRESENTATION AND THE VITALITY OF DEMOCRACY

This article compares the conceptions of democratic representation found in the work of Ernesto Laclau and Hanna Pitkin. Whereas Laclau takes Pitkin as his foil, I contend that her treatment of representation has much more in common with Laclau's than he gives her credit for. Pitkin made a bold critique of foundationalist notions of responsiveness and acknowledged representation's constitutive function. Yet, her antipathy to symbolic representation made Pitkin recoil from the most radical implications of her argument: she would see as a threat to democratic politics that which Laclau casts as its vitality. Laclau's work, then, does not merely refute Pitkin's but advances a line of argument that she set into motion.