The Badiou Dictionary

Steven Corcoran

From Antiphilosophy to Worlds and from Beckett to Wittgenstein, over 90 entries in this dictionary provide detailed explanations and engagements with Badiou’s key concepts and some of his major interlocutors. They also reflect the crucial divergences in Badiou scholarship in a productive and enlightening way. Alain Badiou’s philosophical project is a genuine system in the traditional sense. It profoundly shakes up the field of thought as well as offering fresh insights into contemporary events. His concepts are becoming indispensable tools in a variety of fields, from philosophy to anthropology, including art, politics and theatre. With contributions of JVE and JVEA’s participants Bruno Besana, Pietro Bianchi, Steve Corcoran, Olivia Lucca Fraser, Dominiek Hoens, Elad Lapidot, Ozren Pupovac, Samo Tomsic, Tzuchien Tho.

Politics of Feelings/Economies of Love

k.r.u.ž.o.k.
(The core of k.r.u.ž.o.k. are: Elvis Krstulović, Irena Borić, Iva Kovač, Ivana Meštrov, Karla Pudar, Marta Kiš and Nataša Bodrožić)

Politics of Feelings/Economies of Love confronts text and image based reflections around the notions of emotions and love. Emotions and love are approached as a basis of identity or right wing politics, elsewhere they are the basis of affective identification with one’s own career within the workplace. Love as political and economical currency is used here as a tool in re­reading different case studies in architecture, art or popular media. As we have witnessed over the past few decades, the mass politics of passion can often be a major driving force in the contemporary political arena. The “politics of emotions” represents the core of identity politics. To paraphrase Vjeran Katunarić in his article “The politics of memory”, the rulers of societal emotions are ideologies and their instruments of mass politics, primarily the media. Consequently, it can be said that our social and emotional capacities often limit our cognitive horizons. Our interest is twofold: firstly, we are interested in the politics of emotions within the dominant political discourse, including the sexuality/sexualisation of ideological speech, and secondly, in its relation to the emotional community of two or more individuals. The publication Politics of Feelings/Economies of Love (2014) is a sequel of the k.r.u.ž.o.k. reading group activities; an extension of it’s meetings in printed matter.

Opus 1. On Artist’s Beginnings

Koen Brams

Whenever we set out to tackle an artist’s oeuvre we generally try to trace the ‘decisive moments’ – the turning points, the interruptions, the final work. There is one ‘key moment’, however, that seems virtually to guarantee the ultimate understanding of the oeuvre – its beginning, its Opus 1. We like to think that in that ‘first’ work lies the germ of everything that follows, that everything can be distilled from it and explained by it. But that beginning is also the most enigmatic and difficult moment to decipher. How can it happen that a moment ago there was ‘nothing’, then suddenly ‘something’ has come into being? How could this or that individual ‘suddenly’ hatch into an artist? How do all these fascinating oeuvres, with their unique and inexchangeable characteristics, emerge out of thin air, as it were? The book Opus 1. On Artist’s Beginnings brings together theoreticians, art historians and artists who have reflected upon the question of how one becomes an artist.