On the notion of the political in postmarxist theory.


Miguel Abensour
Is there a proper way to use the voluntary servitude hypothesis?

The Transformation of Structural Causality in Late Modernity 

Propositions on Subject and History

Filippo del Lucchese
The symptomatic relationship between law and conflict in Spinoza 

Jura communia as anima imperii

Warren Montag
Althusser and the Question of Origin
Hegel sive Spinoza

Jacques Rancière
On the political and theoretical effects of Althusserian Marxism
Althusser's Lesson

Michael Löwy
Romanticism and Zivilisationskritik
Walter Benjamin

V. Desclaux, K. Diefenbach M. Dolar, D. Hoens, A. Kukuljevic,
Deleuze, Guattari, Lacan II
The impossible encounter

Michaela Ott
Reading Spinoza with Nietzsche
Deleuze's affective “thinking with”

Emiliano Battista, Vanessa Brito, Jack H. Fischer
Book presentation
Becoming major, becoming minor

Sara Farris, Peter Thomas
Counter-politicisation of the non-political
The theory of politics in the young Marx

Lars T. Lih
The Unifying Theme of his Political Career
Lenin's Scenario of Class Leadership

Rodrigo Nunes
The politics of Badiou and Deleuze/ Guattari
Subject, event, separation

Rodrigo Nunes
Politics, poetics + popular culture in Brazilian cinema 1962-1979
'Stronger are the powers of the people' I

Thomas Seibert
Reading Badiou with and against his postmarxist contemporaries
Politics unbound

Kathrin Thiele
Nietzsche with Deleuze II
The thought of becoming

International conference
Becoming-major, becoming-minor

Marina Gržinić
Global capitalism, necropolitics and contemporary art

Roberto Esposito
The dispositif of the person

International Conference
Encountering Althusser

Conference material: schedule, abstracts, articles
Encountering Althusser

Antke Engel
Queer/ing Images of Sexuality and Economy
The Surplus of Paradoxes

Matteo Mandarini
Negri's encounter with Guattari: the elision of Lenin
Communists like us

Ruth Sonderegger
A cinematic diagnosis of biopolitics
The cinema of Jean-Pierre and Luc Dardenne

Christian Kerslake
The specter of an unsolved problematic
The Meanings of Immanence in Deleuze's Philosophy

Luca Basso, Vittorio Morfino
A French Marx
The singular, the trans-individual and the common

Pier Vittorio Aureli, Andrea Cavaletti, Katja Diefenbach, Mark Purcell, Miguel Robles-Duran, Lukasz Stanek, Roemer van Toorn, Peter Trummer, Sven-Olov Wallenstein
State-space symposium no. 1
Biopolitics of scale

Paul Hegarty, Vanessa Theodoropoulos, Jean Louis Violeau
Against the economic: Reading Baudrillard with Bataille, Lacan, Marx, and Debord
A Workshop on Baudrillard

Lecture of Tom Rockmore at the International Institute for Research and Education, Amsterdam
Is Marx a Fichtean?

Martin Saar
Negri on Power
Political Spinozism

Steve Wright
The Refusal of Labor
Tronti's Legacy

Massimo De Angelis, Pier Vittorio Aureli, Anne Querrien
The production of commons, subjectivity and space
Communists like us

A. Auerbach, K. Diefenbach, S. Dillemuth, M. Vishmidt
The politics of bohemia

Maria Muhle
From Foucault to Rancière
Politics, police and power

Manfred Hermes
Narrative strategies of subjectivisation in Fassbinder’s "Berlin Alexanderplatz"
In the figurative sense

Serhat Karakayali
On political hegemony and militant becoming: Gramsci and Deleuze
The poetics of knowledge

Ruben Martinez, Jaron Rowan, Marina Vishmidt, Katja Diefenbach
The cultural producer as model of the post-fordist worker
In the mood for work

Grahame Lock
The actuality of Althusser's thinking
Dictatorship of the proletariat as political science

Judith Hopf
The imposition of creative work
Hey production!

Raul Zelik
Notes on asymmetric warfare and governance
Sovereign police

A. Auerbach, K. Diefenbach, S. Dillemuth, M. Vishmidt

The politics of bohemia

Bohemia, not the bohème dorée, which cultivated a well-financed beautiful and style-obsessed idleness, but a bohemia distinguished by a particular affective combination, by aesthetic refinement, and a hatred for the status quo, is the secret subject of our discussion and screenings today and tomorrow. Like every radicalised subject-group, bohemia cannot be automatically ascribed to leftwing politics, not only because of the remarkable pop-cultural conservatism of our times, but in the broader historical tradition of the reactionary bohemia, the circle of cosmics around Ludwig Klages and Adolf Schuler in turn-of-the-century Munich, or later the circle around Stefan George which both stood in contact with leftist writers and salon communists of their time. Bohemia is a topos, a field, for the dynamics of aesthetics and politics; it opens up the possibility of not opposing the aesthetic to the political as an autonomous figure, but of having its own politics. This politics of the aesthetic aims to grant a life the possibility of perceiving and expressing the sensual; it fights against the division and separation of what Benjamin called the fine and spiritual things, which presented for him that to what a happy life should have access.

Yesterday night in the film "The century of the Self" Adam Curtis critisises capitalism of supplying things nobody needs. Against this prostestant anticapitalism one would have to insist that consuming and becoming a thin, that nobody needs, is one of the luxurious promises of a politics of bohemia.

The bohemian gesture of distinguished self-expression and cool openness to the beauty of commodity things is a special case, if not a paradigm of micropolitics. This gesture has been born in the 19th century as an attitude against the coming world of salaried employees and the discipline of work. The bohemian testifies to the fact that deviance is that what governmentality attempts to anticipate and to regulate. A liberal regime of capitalist accumulation is characterized by being coextensive to the emergence of a possessive individualism, turning deviant technologies of the self to consumerist self-expression. At the same time, the bohemian gesture testifies to the very fact that the political could not be reduced to the effectivity of the rupture but is has to be accompanied by an intensification of affectivity, a golden moment of anti-normativity which vanishes in the moment of being acted out.

At the beginning of the 90s, when in different cities the dissident music and art scene began to collaborate with radical leftwing activists against a strengthening neo-conservatism and racism, the notion of bohemia emerged in organisations such as the German welfare committee. Linked to this activating of a 19th century figure was a distancing of the political – initially an interesting act, since the political should rest at a distance to itself, on inner contradictions and differences. Unfortunately, this distancing resulted in a non-political gesture, since it accepted the conservative effects of its terminological distribution with approval or even pleasure. This distribution between pop and politics, bohemia and militancy, is based on a dualism of aesthetic composure and political discipline, which stabilises and sets up a series of reductive projections between aesthetics and politics: the double figure of sad militant versus cheerful hedonist. Both are inscribed with a myth of immediacy and authenticity: with the militant, the primacy of organisation and content; with hedonism, the primacy of style and expenditure. Instead of saturating their dualism, both figures should politicise the symptom of their radicalism, thus the fictions and affects that allow us to be calm, distinguished and open for the impressions of things, or serious, militant and organized against the effects of capitalist accumulation.