Download e-book for iPad: Art and Revolution: Transversal Activism in the Long by Gerald Raunig

By Gerald Raunig

ISBN-10: 1584350466

ISBN-13: 9781584350460

Gerald Raunig has written another artwork background of the "long 20th century," from the Paris Commune of 1871 to the turbulent counter-globalization protests in Genoa in 2001. Meticulously relocating from the Situationists and Sergei Eisenstein to Viennese Actionism and the PublixTheatreCaravan, artwork and Revolution takes at the heritage of innovative transgressions and expectantly charts an emergence from its stories of tragic failure and unequivocal catastrophe. by means of eloquently employing Deleuze and Guattari's inspiration of the "machine," Raunig extends the poststructuralist thought of revolution via to the explosive nexus of paintings and activism. As hopeful because it is incisive, paintings and Revolution encourages a brand new iteration of artists and thinkers to refuse to take part within the drained prescriptions of industry and authority and as an alternative create radical new equipment of engagement. Raunig develops an critical, modern perception of political change--a notion that transcends the superseded formulations of revolt and resistance. an excessive amount of blood and ink has been shed for the paintings machines and the innovative machines to stay separate. Gerald Raunig is a thinker and paintings theorist who lives in Vienna, Austria.

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Additional resources for Art and Revolution: Transversal Activism in the Long Twentieth Century (Semiotext(e) / Active Agents)

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35 Hardt and Negri argue that resistance, insurrection and constituent power have been torn apart in a modernity marked by national space and national sovereignty that they have been regarded as mutually external and either deployed entirely separately as various revolutionary strategies, or else have functioned as different historical moments. 36 As the subsequent example of the Paris Commune will show, this historical distinction between the period of the great revolts and the period of “Empire” on the basis of a vaguely constructed historical process is not consistently tenable, although the conclusion is undoubtedly cogent: the triad of the revolutionary machine is always to be imagined as interwoven, but each of the three components develops in form and appearance according to its context in time and space.

THE PRIMACY OF RESISTANCE “The path of total police control over all human activities and the path of unlimited free creation of all human activities are one: …We are necessarily on the same path as our enemies—most often preceding them—but we must be there, without any confusion, as enemies. ” — Situationist International 37 ACCORDING TO MICHEL FOUCAULT, wherever there is power, there is resistance. ”38 Even if power has no absolute outside, though, this does not mean that resistance is necessarily and absolutely subordinated to power.

29 42 / Art and Revolution Raunig-Final2-MIT 7/11/07 3:54 PM Page 43 All these examples indicate the link between resistance and constituent power. ” It revolves around a way of conducting war that sees revolution as the dissolution of the state apparatus in the local context, continuously reinventing the social networks of this context at the same time. Yet the Zapatista war machine is not immune to being transformed into a state apparatus through structuralization either, or being appropriated by a state apparatus that misuses it to conduct war.

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Art and Revolution: Transversal Activism in the Long Twentieth Century (Semiotext(e) / Active Agents) by Gerald Raunig


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