Le lundi 1er février 1988, au Grand Foyer du Théâtre National de Chaillot, fut organisée une soirée philosophique publique. L'occasion de cette soirée était la récente sortie en librairie du livre d'Alain Badiou « L'être et l'événement » (1). Les intervenants étaient, dans l'ordre de leur prise de parole (ordre que cette plaquette restitue), outre Antoine Vitez sur le rôle duquel nous reviendrons, François Wahl, Christian Jambet, Alain Badiou, Jean-Claude Milner et François Regnault. Le protocole de la soirée était le suivant : chacun disait ce que la lecture du livre, ou de tel passage singulier, lui avait inspiré, et comment cette lecture s'articulait à ses propres préoccupations de pensée, Alain Badiou, lui, tentant plutôt une situation de son entreprise. Avant chaque intervention, Antoine Vitez lisait un passage de « L'être et l'événement » approprié à ce qui allait être dit. La voix d'Antoine Vitez fait évidemment ici défaut. Nous pourrons tout au plus signaler ce qu'il a lu. Un public nombreux assistait à cette soirée, dont nous pensons qu'elle était assez nouvelle. Création d'un genre ? Peut-être.
Dans un pays imaginaire, dont cependant la carte est tracée, tous les lieux possibles de la collision politique sont distribués : îles des vieilles sociétés marchandes et bancaires, Sud-Ouest tropical, Nord-Est des mines et de l'acier, midi des ports, centre montagneux et agraire. Il y a aussi la ville, où siègent les pouvoirs. L'horizon du monde est celui d'aujourd'hui : grandes puissances nucléaires, Chine, guerres, marxisme controversé. Là, se joue une partie dont les acteurs sont à la fois collectifs (ouvriers, paysans, jeunesses, pêcheurs, politiques professionnels, industriels, ministres, soldats et officiers, femmes du peuple, postiers, musiciens, immigrés, intellectuels...) et plus spécifiés, grandes âmes : les personnages, qu'ils soient d'un bord ou de l'autre, mesurant leurs partages, leurs amours, leurs fidélités, au mouvement général qui va faire basculer le pays de l'autre côté de la guerre civile, vers les problèmes irrésolus de son édification révolutionnaire. Au centre de ce qui advient, pour la première fois, sujet véritable d'une oeuvre lyrique, le parti politique, questionné de bas en haut, divisible, au ras du monde. Et, avec lui, le marxisme, omniprésent dans une diffusion littéraire étrange, mis à la question des grandes formes poétiques, ici serrées sous des noms d'opéra : airs, ariosos, récitatifs. De cette fusion de tous les moyens littéraires hérités et d'une conviction inentamable, naît ce romanopéra, où le propos d'un art marxiste et fastueux se soutient, peut-être, pour la première fois.
'I'm 79 years old. So why on earth should I concern myself with speaking about youth?' This is the question with which renowned French philosopher Alain Badiou begins his passionate plea to the young. Today young people, at least in the West, are on the brink of a new world. With the decline of old traditions, they now face more choices than ever before. Yet powerful forces are pushing them in dangerous directions, into the vortex of consumerism or into reactive forms of traditionalism. This is a time when young people must be particularly attentive to the signs of the new and have the courage to venture forth and find out what they're capable of, without being constrained by the old prejudices and hierarchical ideas of the past. And if the aim of philosophy is to corrupt youth, as Socrates was accused of doing, this can mean only one thing: to help young people see that they don't have to go down the paths already mapped out for them, that they are not just condemned to obey social customs, that they can create something new and propose a different direction as regards the true life.
On 13 November 2015, Paris suffered the second wave of brutal terrorist attacks in a year, leaving 130 dead and many more seriously injured. How are we to make sense of these violent acts and what do they tell us about the forces shaping our world today?
In this short book the influential philosopher Alain Badiou argues that while these violent events are commonly portrayed as acts of Islamic terrorism, in fact they attest to a much deeper malaise that is connected to the triumph of global capitalism and to new forms of imperialism that involve the weakening of states, such that whole regions of the world have been turned into ungovernable zones run by armed gangs in which ordinary people are forced to live the most precarious lives. These zones have become the breeding ground for a new kind of nihilism that seeks revenge for the domination of the West. And it is this new nihilism, on to which Islam has been grafted, that exerts a particular appeal to the young men and women on the margins who carried out the atrocities in Paris.
The tragedy of 13 November might appear at first sight to be rooted in immigration and Islam but our wound is not so recent: it is rooted in a deeper set of transformations that have reshaped our world, creating small islands of privilege amidst large masses of the destitute and depriving us of a politics that would offer a serious alternative to the present.
Why bother to praise mathematics when you claim, as Alain Badiou does, that philosophy is first and foremost a metaphysics of happiness, or else it's not worth an hour of trouble? What possible relationship can there be between mathematics and happiness? That is precisely the issue at stake in this dialogue, which serves as a very accessible introduction to what mathematics is and an exploration of the crucial influence it has always exerted on the greatest philosophers. Far from the thankless, pointless exercises they are often thought to be, mathematics and logic are indispensable guides to ridding ourselves of dominant opinions and making possible an access to truths, or to a human experience of the utmost value. That is why mathematics may well be the shortest path to the true life, which, when it exists, is characterized by an incomparable happiness.
In Praise of Theatre is Alain Badiou's latest work on the `most complete of the arts,' the theatrical stage. This book, certain to be of great interest to scholars and theatre practitioners alike, elaborates the theory of the theatre developed by Badiou in works such as Rhapsody for the Theatre and the `Theses on Theatre' and enquires into the status of a theatre that would be adequate to our 'contemporary, market-oriented chaos.' In a departure from his usual emphasis upon canonical figures of the stage such as Bertolt Brecht and Samuel Beckett, Badiou devotes In Praise of Theatre largely to a consideration of contemporary practitioners, including Jan Fabre, Brigitte Jacques and Romeo Castellucci. In addition, the book features an incisive analysis of the precarious status of the theatre today, in which Badiou describes not only the current threats to the theatre from the right, but the far more insidious threat from the left.
In a well-known text called `The Communist Hypothesis', first published in 2007, the renowned philosopher Alain Badiou breathed fresh life into the idea of communism as an intellectual representation that provides a critical perspective on existing politics and offers a systemic alternative to capitalism. Now, in the course of this wide-ranging conversation with Peter Engelmann, Alain Badiou explains why he continues to value the idea of communism against the background of current social crises and despite negative historical experiences. From the anticipation of a communism without a state to the problem of the concept of democracy and an analysis of capitalism as a system, the two thinkers discuss the key political issues of our time. Whilst explaining his political philosophy, Badiou also reflects on current socio-political developments such as the turmoil in the Middle East and the situation in China. This compelling dialogue is both a highly topical contribution to the question of how we might organize our societies differently and an accessible introduction to Badiou's philosophical thinking.
Everything in their respective positions divides them: Alain Badiou is the thinker of a revitalized communism and Alain Finkielkraut the mournful observer of the loss of values. The two opponents, gathered here for their first-ever debate, have irreconcilable visions. Yet neither is a stranger to controversy, and in this debate they make explicit the grounds of their personal dispute as well as addressing, in a frank and open exchange, their ideas and theories. Guided by Aude Lancelin, the two philosophers discuss subjects as diverse as national identity, Israel and Judaism, May 1968, and renewed popularity of the idea of communism. Their passionate debate is more than just the sum total of their disagreements, however, for neither of them is satisfied with the state of our society or the direction in which its political representatives persist in taking it. They agree that there needs to be change and their confrontation in this volume shows the importance of asking difficult questions, not only of each other, but also of our political systems.
The notion of `the end' has long occupied philosophical thought. In light of the horrors of the twentieth century, some writers have gone so far as to declare the end of philosophy itself, emphasizing the impossibility of thinking after Auschwitz. In this book the distinguished philosopher Alain Badiou, in dialogue with Giovanbattista Tusa, argues that we must renounce `the pathos of completion' and continue to think philosophically. To accept the atrocities of the twentieth century as marking the end of philosophy is intolerable precisely because it buys into the totalizing doctrines of the perpetrators. Badiou contends that philosophical thinking is needed now more than ever to counter the totalizing effects of globalized capitalism, which prescribes no objective for human life other than integration into its system, giving rise to a widespread sense of hopelessness and nihilism. This book will appeal to the many followers of Badiou's work and to anyone interested in contemporary philosophy and radical political theory.
La question de l'idéologie est l'exemple le plus frappant d'un concept mis à l'épreuve et scindé par le mouvement réel. Marquée par Althusser du sceau d'infamie de ce qui s'oppose à la science, l'idéologie, après mai 1968, s'est au contraire vue chargée de tous les pouvoirs transfigurateurs requis par les limites politiques de la tempête. C'est l'époque où les scribes de la bourgeoisie parlent de « crise de la civilisation », et où la Gauche Prolétarienne lit dans l'Histoire une prétendue étape de « révolutionnarisation idéologique des masses ». Notre intervention véhicule donc un bilan. Il s'agit de prendre appui sur les points forts (la critique de masse du révisionnisme) pour évaluer et rectifier les points faibles (l'adoption d'un point de vue de masse indifférent à l'analyse de classe). Il en résulte que la dialectique classe/masse est le centre de gravité de ce livre. C'est armé de cette dialectique qu'on peut correctement investir et ruiner, sans concéder quoi que ce soit au révisionnisme, les derniers royaumes de l'idéologisme « ultragauche » : Deleuze et son désir, Glucksmann et son goulag. Le déploiement de la dialectique classe/masse engendre à son tour les deux thèses les plus importantes et, au moins dans leur formulation, les plus nouvelles : - l'existence dans toute révolte révolutionnaire des masses, quelle que soit l'époque considérée, d'aspirations égalitaires, anti-propriétaires et anti-étatiques, que nous désignons ici du nom d'« invariants communistes » ; - la reconnaissance du prolétariat comme puissance logique. L'idéologie s'est toujours scindée, et tout reflet est reflet de classe. Le prolétariat est cependant ce qui donne forme à la contradiction, divise la logique elle-même, et soumet irréversiblement la pensée à la reconnaissance de sa propre scission. Le prolétariat n'est pas l'inventeur de la résistance idéologique : il en est le premier logicien.
« On dirait que l'épreuve épidémique dissout partout l'activité intrinsèque de la Raison, et qu'elle oblige les sujets à revenir aux tristes effets - mysticisme, fabulations, prières, prophéties et malédictions - dont le Moyen Âge était coutumier quand la peste balayait les territoires.
Du coup, je me sens quelque peu contraint de rassembler quelques idées simples. Je dirais volontiers : cartésiennes. » Alain Badiou
What is the relation between politics and the world? It might seem that global capitalism has created one world, but this is an illusion because capitalism creates a world of objects and money that divides human existence into regions separated by fences and walls built to keep some people out. In place of this falsely unified world of global capitalism, we need to assert a fundamental principle - namely, that there is one world of living subjects. This, in Badiou's view, is the categorical imperative of all true politics. The one world of living subjects is the place where an infinity of differences and identities exist. Hence foreigners are not a problem but rather an opportunity and a gift. They bear witness to the youth of the world in its infinite variety, and it is with this youth that the politics of the future rests. Foreignness is the means by which existence is re-evaluated, and all true politics is a new dawn of existence. This collection of essays by Badiou, in which he draws out the political implications of recent events and social movements, will be of value to anyone interested in the great social and political questions of our time.
For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou's account of cinema.
He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people - a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras.
Au Prémontré, ni la géographie ni le calendrier ne coïncident avec nos habitudes. Les usages stylistiques obéissent à des codes plus rigides que les nôtres. Les terribles événements historiques qui enveloppent, sur près d'un demi-siècle, la vie des innombrables personnages de ce livre, ne nous sont guère familiers. Qui sont les Délégués Populaires de la Première Année, l'amiral Canival, le Président Démolière? Et la grande manifestation de janvier 44, de quelle époque fixe-t-elle le destin? Et pourtant, le récit qui brasse et traverse ces données ressemble à un autre, bien connu de nous tous. Où donc avons-nous rencontré des précurseurs du sage Ahmed Aazami, de l'ouvrier maudit Simon Symoens, du policier Lancini, du mathématicien Fuimer? Ou encore de la terroriste Elizabeth Cathely, et de son fade amant Régis Bruth? Où donc cette errance et cette persécution dans tous les lieux d'un pays, et toutes les violentes péripéties de son devenir? Où donc déjà se mêlaient, sous le regard d'un père adoptif et clandestin, les amours adolescentes et le tumulte des barricades? Mais peut-être n'est-ce qu'une illusion, ou plutôt une sorte de cache transparent, derrière lequel on voit comment, partout et toujours l'immense voix du monde et les multiples langues qui la captent nous mènent vers l'existence. L'existence nue.
