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If you enter an institutional mineralogical collection, you typically encounter glass cabinets organized by classification systems according to material properties. Yet, each mineral carries with it a history of extraction, destruction, (dis)possession, and global relations. "Transpositional geologies" localizes such collections as indices of the afterlife of colonialism(...)
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If you enter an institutional mineralogical collection, you typically encounter glass cabinets organized by classification systems according to material properties. Yet, each mineral carries with it a history of extraction, destruction, (dis)possession, and global relations. "Transpositional geologies" localizes such collections as indices of the afterlife of colonialism(...)
Title:
Transpositional geologies: Spectres of coloniality
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If you enter an institutional mineralogical collection, you typically encounter glass cabinets organized by classification systems according to material properties. Yet, each mineral carries with it a history of extraction, destruction, (dis)possession, and global relations. "Transpositional geologies" localizes such collections as indices of the afterlife of colonialism and proposes an evolving political geology, reading mineral specimens as objects of "culture" rather than of "nature." Capturing his five-year artistic engagement and cultural collaboration in Namibia and Germany, Sascha Mikloweit brings together international voices from fields including anthropology, critical theory, geology, history, museum studies, philosophy, poetry, public administration—and the perspectives of boltwoodite, cerussite, or smithsonite. Rock by rock, this exquisitely designed volume invites us to engage with a progressively nuanced reading of geology’s history: its epistemic violence, omissions and racial regimes, and how the lasting residues of its colonial legacies continue to shape our present-day extractive realities.
Transpositional geologies: Spectres of coloniality
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If you enter an institutional mineralogical collection, you typically encounter glass cabinets organized by classification systems according to material properties. Yet, each mineral carries with it a history of extraction, destruction, (dis)possession, and global relations. "Transpositional geologies" localizes such collections as indices of the afterlife of colonialism and proposes an evolving political geology, reading mineral specimens as objects of "culture" rather than of "nature." Capturing his five-year artistic engagement and cultural collaboration in Namibia and Germany, Sascha Mikloweit brings together international voices from fields including anthropology, critical theory, geology, history, museum studies, philosophy, poetry, public administration—and the perspectives of boltwoodite, cerussite, or smithsonite. Rock by rock, this exquisitely designed volume invites us to engage with a progressively nuanced reading of geology’s history: its epistemic violence, omissions and racial regimes, and how the lasting residues of its colonial legacies continue to shape our present-day extractive realities.
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books
books
Publication:
August 2025
August 2025
Subject:
Art Theory
Art Theory
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books
books
Title:
Eddy van Wessel: Ukraine
Eddy van Wessel: Ukraine
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In UKRAINE, photojournalist Eddy van Wessel documents a raw account of three years of war in Ukraine through (analogue) photography and firsthand testimonies. With decades of experience covering conflict zones, he focuses on what war means for those living through it – the soldiers on the front lines, civilians sheltering in devastated towns and cities, and those forced(...)
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In UKRAINE, photojournalist Eddy van Wessel documents a raw account of three years of war in Ukraine through (analogue) photography and firsthand testimonies. With decades of experience covering conflict zones, he focuses on what war means for those living through it – the soldiers on the front lines, civilians sheltering in devastated towns and cities, and those forced(...)
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Eddy van Wessel: Ukraine
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In UKRAINE, photojournalist Eddy van Wessel documents a raw account of three years of war in Ukraine through (analogue) photography and firsthand testimonies. With decades of experience covering conflict zones, he focuses on what war means for those living through it – the soldiers on the front lines, civilians sheltering in devastated towns and cities, and those forced to flee. His images capture the visible destruction and the psychological and emotional toll of prolonged violence, making this book a visual and narrative testimony with a complex and layered depiction that is reflecting on the human cost of the largest war in Europe since World War II. It explores displacement, survival, and the boundaries of humanity in times of crisis. Where does humanity end and inhumanity begin? How do individuals maintain dignity and resilience under constant threat? What does survival look like when basic needs – and life itself – are no longer guaranteed?
Eddy van Wessel: Ukraine
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In UKRAINE, photojournalist Eddy van Wessel documents a raw account of three years of war in Ukraine through (analogue) photography and firsthand testimonies. With decades of experience covering conflict zones, he focuses on what war means for those living through it – the soldiers on the front lines, civilians sheltering in devastated towns and cities, and those forced to flee. His images capture the visible destruction and the psychological and emotional toll of prolonged violence, making this book a visual and narrative testimony with a complex and layered depiction that is reflecting on the human cost of the largest war in Europe since World War II. It explores displacement, survival, and the boundaries of humanity in times of crisis. Where does humanity end and inhumanity begin? How do individuals maintain dignity and resilience under constant threat? What does survival look like when basic needs – and life itself – are no longer guaranteed?
Form:
books
books
Publication:
June 2025
June 2025
Subject:
Photography monographs
Photography monographs
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journals and magazines
journals and magazines
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Le langage de l’architecture post-moderne (1) s’ouvre sur une image de destruction qui hante encore. On voit les bâtiments de Pruitt-Igoe conçus par Minoru Yamasaki à Saint-Louis s’effondrer, leurs volumes saillants se désagrègent dans la masse informe d’un nuage de poussière. Investie d’une charge symbolique décisive par Charles Jencks, cette image fait basculer un(...)
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Le langage de l’architecture post-moderne (1) s’ouvre sur une image de destruction qui hante encore. On voit les bâtiments de Pruitt-Igoe conçus par Minoru Yamasaki à Saint-Louis s’effondrer, leurs volumes saillants se désagrègent dans la masse informe d’un nuage de poussière. Investie d’une charge symbolique décisive par Charles Jencks, cette image fait basculer un(...)
Title:
Plan L**** 214 : comment démolir
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Le langage de l’architecture post-moderne (1) s’ouvre sur une image de destruction qui hante encore. On voit les bâtiments de Pruitt-Igoe conçus par Minoru Yamasaki à Saint-Louis s’effondrer, leurs volumes saillants se désagrègent dans la masse informe d’un nuage de poussière. Investie d’une charge symbolique décisive par Charles Jencks, cette image fait basculer un régime historique. Pour la première fois, des bâtiments issus du projet moderne sont détruits, publiquement, et selon une mise en scène. L’événement institue la destruction comme opération à la fois planificatrice et médiatique, comme acte politique à part entière. Diffusée simultanément dans le champ académique et dans la presse généraliste, l’image devient sublime. Elle infuse, encore, les imaginaires urbains. La hantise qu’elle véhicule tient à l’association d’une violence, d’un effondrement soudain et d’une projection. Détruire est envisagé comme une rupture nécessaire pour annuler ce qui existe et pour recommencer
Plan L**** 214 : comment démolir
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Le langage de l’architecture post-moderne (1) s’ouvre sur une image de destruction qui hante encore. On voit les bâtiments de Pruitt-Igoe conçus par Minoru Yamasaki à Saint-Louis s’effondrer, leurs volumes saillants se désagrègent dans la masse informe d’un nuage de poussière. Investie d’une charge symbolique décisive par Charles Jencks, cette image fait basculer un régime historique. Pour la première fois, des bâtiments issus du projet moderne sont détruits, publiquement, et selon une mise en scène. L’événement institue la destruction comme opération à la fois planificatrice et médiatique, comme acte politique à part entière. Diffusée simultanément dans le champ académique et dans la presse généraliste, l’image devient sublime. Elle infuse, encore, les imaginaires urbains. La hantise qu’elle véhicule tient à l’association d’une violence, d’un effondrement soudain et d’une projection. Détruire est envisagé comme une rupture nécessaire pour annuler ce qui existe et pour recommencer
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journals and magazines
journals and magazines
Publication:
February 2026
February 2026
Subject:
Magazines
Magazines
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books
books
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$41.00
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Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In ''Black Climates'', Selina Nwulu reframes the crisis to encompass our disconnection from each other and the(...)
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Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In ''Black Climates'', Selina Nwulu reframes the crisis to encompass our disconnection from each other and the(...)
Title:
Black climates: Notes on race, our environment, and visions for equitable futures
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Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In ''Black Climates'', Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination.
Black climates: Notes on race, our environment, and visions for equitable futures
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Summary:
Globally, Black people are among the most affected by the climate crisis, despite contributing very little to it. For a long time, the crisis was portrayed as yet another injustice for Black people to care about, on top of the day-to-day oppression they face. In ''Black Climates'', Selina Nwulu reframes the crisis to encompass our disconnection from each other and the world around us. She argues that the root of climate change lies in historical colonial violence and ongoing exploitation, making it inherently racist. Nwulu, former Young People's Laureate for London, uses her poetic and skilful voice to directly address Black British readers who have been previously ignored in mainstream environmental conversations. She includes interviews with a wide range of creatives and campaigners to explore a variety of subjects, including air pollution, prison ecology, disability justice, migration, food, nature, community care, and radical imagination.
Form:
books
books
Publication:
January 2026
January 2026
Subject:
Environment and environmental theory
Environment and environmental theory
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journals and magazines
journals and magazines
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$32.95
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Summary:
The editorial/imaginative centre of the ninth issue of Errant Journal is located in the regions that have experienced Russian imperial aggression from where it makes connections across times, geographies, and ontologies to explore the radical potential of companionship. Companionship is understood not as agreement, but as a shared responsibility across unequal histories.(...)
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The editorial/imaginative centre of the ninth issue of Errant Journal is located in the regions that have experienced Russian imperial aggression from where it makes connections across times, geographies, and ontologies to explore the radical potential of companionship. Companionship is understood not as agreement, but as a shared responsibility across unequal histories.(...)
Title:
Errant Journal #9: Companions
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The editorial/imaginative centre of the ninth issue of Errant Journal is located in the regions that have experienced Russian imperial aggression from where it makes connections across times, geographies, and ontologies to explore the radical potential of companionship. Companionship is understood not as agreement, but as a shared responsibility across unequal histories. It means not being full without the other. While forms of imperial and colonial violence might differ in places and through times, the issue recognizes how colonial mechanisms are sustained, how they present themselves as if they were past while shapeshifting and continuing in new forms and places in the present. By bringing these contexts in relation, this issue aims to show how certain borders, biases, clichés, and power structures travel, mutate, and shape both human and non-human lives and landscapes. Ultimately, companionship is about prioritizing life and about insisting that no oppression is singular.
Errant Journal #9: Companions
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The editorial/imaginative centre of the ninth issue of Errant Journal is located in the regions that have experienced Russian imperial aggression from where it makes connections across times, geographies, and ontologies to explore the radical potential of companionship. Companionship is understood not as agreement, but as a shared responsibility across unequal histories. It means not being full without the other. While forms of imperial and colonial violence might differ in places and through times, the issue recognizes how colonial mechanisms are sustained, how they present themselves as if they were past while shapeshifting and continuing in new forms and places in the present. By bringing these contexts in relation, this issue aims to show how certain borders, biases, clichés, and power structures travel, mutate, and shape both human and non-human lives and landscapes. Ultimately, companionship is about prioritizing life and about insisting that no oppression is singular.
Form:
journals and magazines
journals and magazines
Publication:
June 2026
June 2026
Subject:
Magazines
Magazines
Form:
books
books
Title:
Out of Beirut
Out of Beirut
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Beirut had been a renowned resort and a center of culture and style for hundreds of years, when, in the late twentieth century, it became the site of terrible violence and trauma. More than 15 years after the official end of Lebanon's civil war in 1990, political instability, bombings and assassinations still dominate the international headlines, obscuring years of swift(...)
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Beirut had been a renowned resort and a center of culture and style for hundreds of years, when, in the late twentieth century, it became the site of terrible violence and trauma. More than 15 years after the official end of Lebanon's civil war in 1990, political instability, bombings and assassinations still dominate the international headlines, obscuring years of swift(...)
Publication:
January 2007, Oxford
January 2007, Oxford
Title:
Out of Beirut
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Beirut had been a renowned resort and a center of culture and style for hundreds of years, when, in the late twentieth century, it became the site of terrible violence and trauma. More than 15 years after the official end of Lebanon's civil war in 1990, political instability, bombings and assassinations still dominate the international headlines, obscuring years of swift change. In that time, Beirut became fertile ground for radical and innovative art-making and critical thought. "Out of Beirut" introduces new and recent work by artists who have been at the forefront of that activity, and who, in this new time of turmoil and change, will be watching Beirut's fate closely, chronicling it, and perhaps by their responses, changing it. With work by Fadi Abdallah, Gilbert Hage, Heartland, Bernard Khoury, Rabib Mroué, Walid Raad, Walid Sadek, Jalal Toufic, Paola Yacoub and Michel Lasserre and Akram Zaatari, among others.
Out of Beirut
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Summary:
Beirut had been a renowned resort and a center of culture and style for hundreds of years, when, in the late twentieth century, it became the site of terrible violence and trauma. More than 15 years after the official end of Lebanon's civil war in 1990, political instability, bombings and assassinations still dominate the international headlines, obscuring years of swift change. In that time, Beirut became fertile ground for radical and innovative art-making and critical thought. "Out of Beirut" introduces new and recent work by artists who have been at the forefront of that activity, and who, in this new time of turmoil and change, will be watching Beirut's fate closely, chronicling it, and perhaps by their responses, changing it. With work by Fadi Abdallah, Gilbert Hage, Heartland, Bernard Khoury, Rabib Mroué, Walid Raad, Walid Sadek, Jalal Toufic, Paola Yacoub and Michel Lasserre and Akram Zaatari, among others.
Form:
books
books
Publication:
January 2007, Oxford
January 2007, Oxford
Form:
books
books
Title:
Politics and Passions
Politics and Passions
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In 2009, the artist Anna Ostoya created a booklet with textual collages using an essay by the political theorist Chantal Mouffe, ''Politics and passions: The stakes of democracy'' (2002). In the essay, Mouffe critiqued the then-dominant ‘beyond left and right’ politics of neoliberalism and warned of its dangers – the rise of right-wing populist parties. Fascinated by(...)
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In 2009, the artist Anna Ostoya created a booklet with textual collages using an essay by the political theorist Chantal Mouffe, ''Politics and passions: The stakes of democracy'' (2002). In the essay, Mouffe critiqued the then-dominant ‘beyond left and right’ politics of neoliberalism and warned of its dangers – the rise of right-wing populist parties. Fascinated by(...)
Title:
Politics and Passions
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In 2009, the artist Anna Ostoya created a booklet with textual collages using an essay by the political theorist Chantal Mouffe, ''Politics and passions: The stakes of democracy'' (2002). In the essay, Mouffe critiqued the then-dominant ‘beyond left and right’ politics of neoliberalism and warned of its dangers – the rise of right-wing populist parties. Fascinated by Mouffe’s strikingly prophetic ideas, as well as her bold call to fight the status quo in order to radicalise democracy and to prevent violence, Ostoya returned to the booklet in 2019. She composed for it a series of portraits based on sketches of people on the New York City subway and on reproductions of her paintings and collages from the preceding decade. She also conducted a conversation with Mouffe about the politics of the last forty years, about the contemporary moment and about art, which is included in this publication.
Politics and Passions
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Summary:
In 2009, the artist Anna Ostoya created a booklet with textual collages using an essay by the political theorist Chantal Mouffe, ''Politics and passions: The stakes of democracy'' (2002). In the essay, Mouffe critiqued the then-dominant ‘beyond left and right’ politics of neoliberalism and warned of its dangers – the rise of right-wing populist parties. Fascinated by Mouffe’s strikingly prophetic ideas, as well as her bold call to fight the status quo in order to radicalise democracy and to prevent violence, Ostoya returned to the booklet in 2019. She composed for it a series of portraits based on sketches of people on the New York City subway and on reproductions of her paintings and collages from the preceding decade. She also conducted a conversation with Mouffe about the politics of the last forty years, about the contemporary moment and about art, which is included in this publication.
Form:
books
books
Publication:
July 2021
July 2021
Form:
books
books
Price:
$59.95
(available to order)
Summary:
Andrinople, carmin, cramoisi, écarlate, pourpre, rubis... rouge cardinal, Carpaccio, Dior, Ferrari, opéra, Valentino... rouge baiser, glamour... ruban rouge, la Butte rouge, Julie la Rousse, le Petit Chaperon rouge, l'Oeuvre au rouge... Rouge comme l'amour, le feu, l'érotisme, rouge de colère et rouge de honte, rouge de l'enfer et du diable, des guerres, de la violence et(...)
$59.95
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Andrinople, carmin, cramoisi, écarlate, pourpre, rubis... rouge cardinal, Carpaccio, Dior, Ferrari, opéra, Valentino... rouge baiser, glamour... ruban rouge, la Butte rouge, Julie la Rousse, le Petit Chaperon rouge, l'Oeuvre au rouge... Rouge comme l'amour, le feu, l'érotisme, rouge de colère et rouge de honte, rouge de l'enfer et du diable, des guerres, de la violence et(...)
Title:
Le rouge
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Andrinople, carmin, cramoisi, écarlate, pourpre, rubis... rouge cardinal, Carpaccio, Dior, Ferrari, opéra, Valentino... rouge baiser, glamour... ruban rouge, la Butte rouge, Julie la Rousse, le Petit Chaperon rouge, l'Oeuvre au rouge... Rouge comme l'amour, le feu, l'érotisme, rouge de colère et rouge de honte, rouge de l'enfer et du diable, des guerres, de la violence et des révolutions. Rouge comme le sang du Christ qui purifie et comme la pourpre des empereurs. Rouge comme la gloire et comme le triomphe. Au fil des mots, le rouge, couleur ambivalente entre toutes, déploie ses jeux d'associations symboliques, oscillant d'un contraire à l'autre, mêlant le profane au sacré, la jouissance à l'effroi, l'ardeur à l'interdiction, le désir de purification au tabou de la chair. Couleur sensuelle et terrifiante à la fois, témoignage des contradictions de l'âme humaine et miroir de notre société contemporaine. Préface de Sonia Rykiel.
Le rouge
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Andrinople, carmin, cramoisi, écarlate, pourpre, rubis... rouge cardinal, Carpaccio, Dior, Ferrari, opéra, Valentino... rouge baiser, glamour... ruban rouge, la Butte rouge, Julie la Rousse, le Petit Chaperon rouge, l'Oeuvre au rouge... Rouge comme l'amour, le feu, l'érotisme, rouge de colère et rouge de honte, rouge de l'enfer et du diable, des guerres, de la violence et des révolutions. Rouge comme le sang du Christ qui purifie et comme la pourpre des empereurs. Rouge comme la gloire et comme le triomphe. Au fil des mots, le rouge, couleur ambivalente entre toutes, déploie ses jeux d'associations symboliques, oscillant d'un contraire à l'autre, mêlant le profane au sacré, la jouissance à l'effroi, l'ardeur à l'interdiction, le désir de purification au tabou de la chair. Couleur sensuelle et terrifiante à la fois, témoignage des contradictions de l'âme humaine et miroir de notre société contemporaine. Préface de Sonia Rykiel.
Form:
books
books
Publication:
August 2009
August 2009
Subject:
Colour Theory and Design
Colour Theory and Design
Form:
books
books
Title:
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
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“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of(...)
$27.00
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Summary:
“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of(...)
Title:
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
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$27.00
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“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of interconnectivity, this book, which accompanies a joint exhibition of the same name of Kunsthalle Wien and Wiener Festwochen, seeks to create a collective dialogue around unequal distribution of power, sovereignty, and social and ecological justice. The exhibited works and written contributions reflect on the rationale of exploitation, the fast-paced mining of raw materials, and environmental destruction as a colonial legacy. They deconstruct Western anthropocentric models and enduring colonial and racist discourses, trace the stories of indigenous struggles for collective survival, and celebrate encounters defined by solidarity in their resistance to capitalist extraction, misogyny, imperialist violence, and dispossession.
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
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$27.00
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Summary:
“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of interconnectivity, this book, which accompanies a joint exhibition of the same name of Kunsthalle Wien and Wiener Festwochen, seeks to create a collective dialogue around unequal distribution of power, sovereignty, and social and ecological justice. The exhibited works and written contributions reflect on the rationale of exploitation, the fast-paced mining of raw materials, and environmental destruction as a colonial legacy. They deconstruct Western anthropocentric models and enduring colonial and racist discourses, trace the stories of indigenous struggles for collective survival, and celebrate encounters defined by solidarity in their resistance to capitalist extraction, misogyny, imperialist violence, and dispossession.
Form:
books
books
Publication:
April 2023
April 2023
Subject:
Art Theory
Art Theory
Form:
books
books
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$42.95
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Summary:
Des relations intimes aux politiques globales, Sarah Schulman fait le constat d’un continuum : individus comme États font souvent basculer les situations conflictuelles dans le registre de l’agression, criminalisant leurs opposants pour couper court à la contradiction et échappant ainsi à leur propre responsabilité dans les conflits. En distinguant conflit et agression,(...)
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Des relations intimes aux politiques globales, Sarah Schulman fait le constat d’un continuum : individus comme États font souvent basculer les situations conflictuelles dans le registre de l’agression, criminalisant leurs opposants pour couper court à la contradiction et échappant ainsi à leur propre responsabilité dans les conflits. En distinguant conflit et agression,(...)
Title:
Le conflit n'est pas une agression
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Des relations intimes aux politiques globales, Sarah Schulman fait le constat d’un continuum : individus comme États font souvent basculer les situations conflictuelles dans le registre de l’agression, criminalisant leurs opposants pour couper court à la contradiction et échappant ainsi à leur propre responsabilité dans les conflits. En distinguant conflit et agression, l’autrice interroge notre culture de la stigmatisation. Ce travail profond, aussi courageux qu’impertinent, montre comment la sanction et la répression prennent le pas sur l’auto-analyse à l’échelle individuelle et collective, et comment l’altérité sert de justification à la violence et à l’exclusion. Ce livre intentionnellement polémique offre un aperçu des dynamiques contemporaines et historiques qui prennent les différences intimes, raciales et géopolitiques pour des éléments déclencheurs de la course à l’injustice, à l’exclusion et à la répression. Le conflit n’est pas une agression est un virulent plaidoyer contre le phénomène culturel de l’accusation, révélant combien les personnes en situation de pouvoir exacerbent et manipulent la crainte de l’« autre » pour éviter toute remise en question.
Le conflit n'est pas une agression
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Summary:
Des relations intimes aux politiques globales, Sarah Schulman fait le constat d’un continuum : individus comme États font souvent basculer les situations conflictuelles dans le registre de l’agression, criminalisant leurs opposants pour couper court à la contradiction et échappant ainsi à leur propre responsabilité dans les conflits. En distinguant conflit et agression, l’autrice interroge notre culture de la stigmatisation. Ce travail profond, aussi courageux qu’impertinent, montre comment la sanction et la répression prennent le pas sur l’auto-analyse à l’échelle individuelle et collective, et comment l’altérité sert de justification à la violence et à l’exclusion. Ce livre intentionnellement polémique offre un aperçu des dynamiques contemporaines et historiques qui prennent les différences intimes, raciales et géopolitiques pour des éléments déclencheurs de la course à l’injustice, à l’exclusion et à la répression. Le conflit n’est pas une agression est un virulent plaidoyer contre le phénomène culturel de l’accusation, révélant combien les personnes en situation de pouvoir exacerbent et manipulent la crainte de l’« autre » pour éviter toute remise en question.
Form:
books
books
Publication:
October 2024
October 2024
Subject:
Social
Social
