Nikos Papastergiadis

The invasion complex: the abject other and spaces of violence

Abstract This article examines how the image of the refugee has been defined through the fear of the other, and how the mechanisms of detention have transformed the conditions of belonging. I examine the contemporary geopolitical forces propelling the rise of a new authoritarianism, growing border anxieties and hostility towards refugees, and argue that these emerging shifts provoke an urgent need for a new conceptual framework to understand the dynamics of contemporary global flows and concepts of belonging. I introduce what I call the ‘invasion complex’, a new conceptual hybrid that draws upon elements of psychoanalytic theory and complex systems theory, and Giorgio Agambens analysis of sovereignty and ‘the camp’, to explain heightened border anxieties and the legitimization of violence towards the Other. I consider the value, applications and limitations of Agambens analysis, and contend that both the state‐centric moral debate on the refugee crisis, and Agambens method of privileging political agency in terms of sovereign power, tend to discount the role of complexity. Drawing on the Australian political and public discourse on refugees, and the 2001 Tampa crisis, I argue that the hostile reactions can be traced to a complex interplay between old phobias and new fantasies. I conclude by urging the need to move beyond nation state centric critiques of racism, and propose the development of a new paradigm — a potential politics that recognizes the complex dynamics of global flows, and which opens the way for a discourse of hope based on the rights of the human being, rather than the citizen.

Hybridity and Ambivalence: Places and Flows in Contemporary Art and Culture

Today the movement of ideas, capital and people is faster and wilder than at any point in history. Globalization has made the world more interconnected. The flows of traffic in this new network have not only accelerated to new levels, but the directions of movement have multiplied and abandoned the well-worn paths. The cultural dynamics of globalization have presented new challenges to the existing models for explaining the forms of belonging and the patterns of exchange that are occurring in the world. Culture is no longer understood as the discrete and unique expression of activities and ideas that occur in particular places. No culture can exist in isolation. The process of hybridization in the deterritorialization of cultures and peoples demands new theories of flow and resistance and is compelling artists and intellectuals to rethink their methods. Cultural critics and curators are also in need of new conceptual frameworks. There is an urgent need for a new vocabulary in art discourse that is able to make sense of the complex forms of representation that are incorporating images from different locations and that simultaneously activate signs that contain within them a multiplicity of other signs, each embodying a series of contrary or competing codes. To do justice to both the complexity of the artwork and the intellectual potential of these new conceptual headings we need to develop frameworks that can address both these signs of difference and the process by which signs are made out of the plays with difference. The concept of translation can serve as a tool that can both make sense of the broader dynamic of cultural exchange and explain specific forms of cultural representation. I am particularly concerned with the ways in which contemporary artists and art writing deal with issues of mobility and attachment. What sort of place does art connote if it is constantly evoking the shuttling between places? In what language can the artist articulate the recognition that translations fail as often as they succeed? How does a bi-lingual or a bi-cultural person speak their mother-tongue and see the world, which operates in a different or hybrid language? These questions push the available conceptual frameworks for cross-cultural exchanges to the limits. In this article I re-examine the conceptual viability of the term hybridity in light of the new debates on creolization and globalization.

The Invasion Complex in Australian Political Culture

The political and social reaction to the ‘refugee crisis’ in Australia cannot be solely understood in purely geo-political or economic terms. Neither can the persistence of racism in Australian political culture be explained in terms of its electoral advantage. This article contends that the racist attitudes of the Australian Liberal Government, and John Howard in particular, hide deeper unconscious processes that are historically embedded in the national imaginary. These unconscious processes are manifested in the invasion complex which lies just below the surface of Australia’s political culture.

Wars of Mobility

In the aftermath of 9/11, world leaders addressed the nation as a body under threat and hastened in new policies to bolster border protection and ‘securitize’ immigration. While the terrorist attacks cast new forms of public attention on the risks posed by mobile agents, the link between national security and regulating migration has always been at the forefront of the constitution of the nation state. Despite this persistent anxiety towards the social impact of migration and the status of people on the move, a more general understanding of mobility is not only missing in public debates, but has been a lacunae in the social sciences. What is mobility — a state, a force, a set of shifting co-ordinates? How does the definition of mobility shape social attitudes and personal experiences? This article examines the use of organic and mechanistic metaphors that have underpinned the classical paradigm for understanding of mobility in the social sciences. It argues that the global patterns of migration and the contemporary forms of hybrid subjectivity do not fit well with this paradigm. The limits and kinetophobic associations generated by the classical paradigm are examined through Harald Kleinschmidt’s theory of residentialism. The final part of this article outlines an alternative conceptual frame that is based on key terms from complexity theory.

Glimpses of Cosmopolitanism in the Hospitality of Art

Cosmopolitanism has been used as a concept to open the horizons for being in the world. This article re-thinks the philosophical and political dimensions of cosmopolitanism by relating them to the new collaborative practices by artists. The concepts of agency and community will be grounded in a critical examination of the networking strategies and the practice of hospitality that have been cultivated by artistic collectives such as Stalker. The aim of this article is to ‘rescue’ the account of artistic practice from the extreme version of quasi-mystical universalism and dogmatic political activism. It also seeks to argue that the abstract principles of cosmopolitanism are in a dialogue with the multicultural practices of everyday life.

Mega Screens for Mega Cities

This article considers how networked large urban screens can act as a platform for the creation of an experimental transnational public sphere. It takes as a case study a specific Australia-Korea cultural event that linked large screens in Federation Square, Melbourne, and Tomorrow City, Incheon, 1 through the presentation of SMS-based interactive media art works. The article combines theoretical analyses of global citizenship, mobility, digital technologies, and networked public space with empirical analyses of audience response research data collected during the screen event. The central argument is that large public screens can offer a strategic site for examining transformations in the constitution of public agency in a digitized, globalized environment. The idea of ‘aesthetic cosmopolitanism’ is finally proposed as a conceptual framework for understanding how new forms of transnational public agency in mediated public spaces might operate.

Assemblies in Art and Politics: An interview with Jacques Rancière

This interview was conducted on 8 October 2011 at the Van Abbemuseum, Eindhoven. It was held during a symposium that reflected on the work of Rancière and was a part of a broader engagement with the concept of autonomy and its relation to art organized by an umbrella group of universities and arts organizations under the name of ‘The Autonomy Project’. A number of the symposium’s participants – Peter Osborne, Gerald Raunig, Isabell Lorey, Ruth Sondregger, Kim Mereiene and Adrian Martin – contributed questions that formed the basis of this interview. The interview took place at a time when the longer-term possibilities of the Arab Spring and Occupy/Indignados movements were under general scrutiny. It was also a moment when the Van Abbemuseum itself was compelled to reflect on its own position of political autonomy in relation to neoliberal state directives, political populism at the local level and its own critique of aesthetic autonomy. Rancière’s work on aesthetics and politics has been as much appreciated as a clearance strategy against prevailing visual prejudices as it has served as a platform for rethinking the emancipatory potential of creative practice.

A Breathing Space for Aesthetics and Politics: An Introduction to Jacques Rancière

Jacques Rancière is one of the central figures in the contemporary debates on aesthetics and politics. This introduction maps the shift of focus in Rancière’s writing from political theory to contemporary art practice and also traces the enduring interest in ideas on equality and creativity. It situates Rancière’s rich body of writing in relation to key theorists such as the philosopher Alain Badiou, art historian Terry Smith and anthropologist George E. Marcus. I argue that Rancière offers a distinctive approach in this broad field by clarifying the specificity of the artist’s task in the production of critical and creative transformation, or what he calls the ‘distribution of the sensible’. In conclusion, I complement Rancière’s invocation to break out of the oppositional paradigm in which the political and aesthetic are usually confined by outlining some further methodological techniques for addressing contemporary art.

Hospitality, Multiculturalism and Cosmopolitanism: A Conversation between Christos Tsiolkas and Nikos Papastergiadis

At the Antipodes Writers Festival (Melbourne) 2012s opening event, Christos Tsiolkas, multi-award winning author of Loaded, Dead Europe and The Slap, speaks to cultural theorist, Professor Nikos Papastergiadis (School of Culture and Communication, University of Melbourne). In this excerpt, edited by Prof. Papastergiadis, they discuss Tsiolkas’ work in the context of multiculturalism and cosmopolitanism – the focus of Papastergiadiss recent book Cosmopolitanism and Culture 2012; they also discuss hospitality, belonging and Australian culture.

Understanding Hybrid Identities: From Mechanical Models to Complex Systems

This article examines the use of organic and mechanistic metaphors that have underpinned the modeling of national governance in the social sciences and also framed the representation of the social impact of migration. It argues that the global patterns of migration and the contemporary forms of hybrid subjectivity do not fit well with these conceptual frameworks. The limits of this framework are examined through Harald Kleinschmidts theory of residentialism, and the outlines of an alternative conceptual frame is proposed by drawing on key terms that have been developed in complexity theory.