Laura Quintana

In this article, Laura Quintana elaborates on a conceptual distinction between violence and rage. Along with this distinction, she recognises that while rage may possess a destructive potential, it can also be politicised in emancipatory practices that confront conditions of injustice and structural violence. Her analysis centers on contemporary political movements in Latin America, which she views as collective manifestations of rage. Within these movements, the manifestation of rage is intertwined with forms of care and communal labor. Quintana characterises such movements as embodying a “dignified rage” (digna rabia) that calls for an emancipatory transformation of the status quo. She contends that these practices can be understood in terms of the notion of “anti-violence,” as it has been coined by Étienne Balibar. In this she diverges from Judith Butler, since, according to Quintana’s analysis, such practices challenge the demand for non-violence that has often served to neutralise the disruptive force of such manifestations and movements.

Colombia has been structured by war, and this situation has permeated the country’s art, with variations that go hand in hand with the transformations of violence. In this chapter, I delve into the work of filmmaker Nicolás Rincón-Gille. What I explore as remarkable in his films is how violence does not “monopolize everything else” but makes life count in the face of the brutal effects of devastation. What persists in these films is the capacity of those who have lived through and been traversed by destruction to reposition themselves in what remains and their ability to give an account of what happened to them by finding everyday resources to deal with it. Thus, these films can break away from the identifications that bind victims to a place of impotence by exploring their capacities, perceptions of the conflict, and experiences of mourning and creating, through this exploration, dissensual works of memory.

En sobre el arte moderno vemos a Klee en la difícil posición de un artista que quiere insistir en la capacidad de sus obras para hablar por sí mismas; pero que sabe, a la vez, de las dificultades que el público puede encontrar para aproximarse por primera vez a composiciones que desafías supuestos ya arraigados acerca de la obra de arte. Este texto es, por tanto, junto con todos esos gestos artísticos que son las obras de Klee, una invitación a mirar de otra manera, a dejar que las obras nos interpelen y a participar del diálogo que ella inauguran.

"Hay formas de rabia que intensifican la desigualdad y otras que la combaten. Y en esta duplicidad están en juego diferentes comprensiones de la vida, la identidad y su relación con lo extraño. En distintas actitudes cotidianas y en varias de las decisiones políticas son visibles formas de miedo, odio y resentimiento. En las redes sociales y en las decisiones electorales, en los espacios cotidianos rutinarios y como respuesta a crisis inesperadas, la gente expresa su insatisfacción por aquello que percibe como rechazable y amenazante: personas migrantes estigmatizadas, formas de vida asumidas como degeneradas, figuras públicas satanizadas. A su vez, el descontento ante la violencia y la desigualdad da vida a formas de enardecimiento que confrontan estas condiciones en apuestas políticas disidentes. Rabia: Afectos, violencia, inmunidad analiza estos afectos como experiencias complejas y conflictivas, emergidas históricamente, desde una aproximación situada y relacional del mundo social, mostrándonos. así que son fuerzas corporales vinculadas con la crisis ecológico-política que vivimos, de las que también puede emerger el impulso para enfrentarla."--

This article claims that capitalism is not a homogeneous logic but a heterogeneous regime, deployed in multiple practices, forms of knowledge, techniques, and temporalities that have become embodied, created spaces, and participated in different forms of life. Subsequently, within the ruination capitalism has produced, it is possible for political and economic reconfigurations to arise. What is at stake here are possibilities for critical agency today, particularly in contexts ruined by forms of intensive exploitation, contexts where a collective desire to be different seems to have spent itself but can in fact emerge in new ways.

En este ensayo se muestra hasta qué punto en las ideas de Martín Lutero y de Erasmo de Rotterdam pueden encontrarse algunos gérmenes o desarrollos incipientes de un aspecto central del pensamiento en la modernidad: el subjetivismo. Esto es, la vuelta del sujeto sobre sí que está a la base de los modernos conceptos de “yo”, “individuo”, “interioridad”, tal y como se expresa en el giro copernicano kantiano. De esta forma se llega a plantear que en la configuración de una concepción del mundo intervienen elementos diversos que, en principio, parecerían oponerse a ella.---This essay shows to which extent some of Martin Luther’s and Erasmus of Rotterdam’s ideas contain some germs or incipient developments of a main aspect of modern thought: subjectivism; namely, the return to the subject at the basis of the modern concepts of the self, the individual and immanence, such as they are manifest in the Copernican-Kantian turn. Thus the A. contends that several elements initially deemed to be contrary to a new world vision, actually take part in its constitution.

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Neoliberal Techniques of Social Suffering: Political Resistance and Critical Theory from Latin America and Spain is the result of the critical and political commitment of various Latin American and Spanish philosophers who share a critical approach to the global “stealth revolution” in recent decades, where neoliberalism has forced the well-being and reproduction of life to adapt to a system devastating for both humans and non-humans. The authors voice the shared concern of contemporary Spanish and Latin American societies to build new conceptions of the public and the common through mobilizing affects usually disavowed in political theory. If, in Ancient Greece, the idea of strengthening the most vulnerable and weakest was deplored as the art of sophists, this collection edited by Laura Quintana and Nuria Sánchez Madrid explores the other side of our social world to revive grassroots strategies of resistance and emancipation, which are able to bring about new distributions of power, welfare, and discursive legitimation and to extend our goal of creating a radically democratic world.

This article contends that Jacques Rancière’s aesthetic understanding of corporeality is central to his interpretation of intellectual emancipation. Concretely, I will argue that Rancière’s aesthetic understanding can be viewed as a torsion of a body that affects its vital arrangements, which thereby open paths for political emancipation. I will support my claim with Rancière’s reading of the plebeian philosopher Gauny, as well as works that have not been sufficiently considered in secondary literature, such as The Nights of Labor and The Ignorant Schoolmaster. My reading will, I maintain, help to question common interpretations of emancipation in Rancière that tend to read this notion either in dichotomous terms or as a merely ephemeral, evental practice with no concrete conditions of possibility and without long-lasting or verifiable effects in the world.

In current discussions on contemporary political philosophy some commonplaces around Rancière’s thought are restated with the effect of neutralizing the potential of his reflections. I refer in particular to the following assumptions: a dichotomic understanding of Rancière’s distinction between politics and the police, an ontological interpretation of this difference, an identification of Rancière’s political propositions as anti-institutionalist; a reading of the practices of emancipation as something ephemeral without a durable effect for the common world. In this article I question these assumptions by emphasizing some usually neglected aspects of Rancière’s arguments.

RESUMEN Partiendo de algunas experiencias del presente, se retoma la interpretación nietzs cheana del resentimiento para explorar la complejidad y ambivalencia del fenómeno e iluminar cuestiones actuales. Así, se vinculan dos tendencias y sus implicaciones: cómo el resentimiento genera la fijación de una identidad amenazadora que lleva a la estigmatización de un otro, a la vez como una forma de rechazo de la contingencia histórica; y cómo el vínculo del resentimiento con la temporalidad, en particular con un tipo de memoria, produce una incapacidad para asumirla creadoramente. Esta reflexión deja abiertas preguntas sobre cómo los cuerpos afectados por el resen timiento pueden revertirlo y dar lugar a formas más vitales de relación con el mundo. ABSTRACT On the basis of selected experiences from the present, the article revisits the Nietzschean interpretation of resentment in order to explore the complexity and ambivalence of the phenomenon and shed light on current issues. To that effect, it connects two tendencies and their implications: the manner in which resentment generates the fixation of a threatening identity that leads to the stigmatization of an other, which, at the same time, involves a rejection of historical contingency; and the manner in which the link between resentment and temporality, in particular with a type of memory, produces an incapacity to assume it creatively. This reflec tion leaves questions open regarding how bodies affected by resentment can twist it around and give rise to more vital forms of relating to the world.