The effects of executive constraints on political trust

This article explores political trust, delving into its subcomponents and the relationship between them. It is interested in explaining why governmental trust and trust in regulative state institutions are similar in some countries and different in others. It argues that the variation can best be explained by checks on the executive. This is the case because the more restricted the executive, the less regulative state institutions are affected by the fluctuations in governmental trust. When the government cannot encroach upon state institutions, the impartiality and efficacy of regulative institutions are maintained. The less governmental interference to regulative state institutions, the more such institutions will be devoted to the public rather than partisan interests, resulting in a wider gap between state and government trust. The argument is tested through an empirical analysis of a cross-national panel data based on all existing waves of the World Values Survey.     

Marxism Beyond the Economy and Exploitation Beyond the Wage

Since its inception Marxism has largely operated with a narrow definition of the economy which closely resembles capitalism’s own, focusing on wage labor as the pre-eminent example of capitalist relations of labor. A century-long series of challenges from heterodox radical economists, including those based in feminism and anti-colonial theory, has yet to broaden this definition of capitalism, but the fading importance of wage labor and the advent of new forms of precarious labor relations may allow us to break the hold of restrictive ideas of the economy. A larger, more comprehensive concept of economics locates value production and material exploitation in many forms of labor in addition to waged work, and provides a theoretical platform for building solidarity among seemingly disparate movements and constituencies. Marxism can and must incorporate critiques if it is to have continuing relevance. In fact, Marx’s original understanding of capitalism included the concepts of primitive accumulation and the reproduction of labor power, allowing broader concepts of capitalist exploitation to be incorporated into the Marxist worldview. New insights into the essential nature of capitalism and new possibilities for organizing and change may emerge from this paradigm shift.     

New Changes in the International Situation and China's Strategic Choices

The international situation is evolving more impressively than it has at any time since the end of the Cold War.Globalization has been in decline.Nations are scrambling to gain greater influence.The international strategic pattern is being adjusted.Many countries have problems with public management,and are faced with a new array of social trends and increasingly popular movements.The world is entering a new era full of chaos and anxiety.Mankind once again faces significant trade-offs and choices in peace and conflict,development and recession,openness and isolation,liberalism and conservatism.China strives to advocate win-win cooperation and lead the trend of reform and opening to maintain a favorable external environment despite world chaos,and enhance status and institutional rights in the international system.China's 30 years of development was successful in the process of integrating into the existing international system;China is a participant as well as a builder of the international system,rather than a challenger or a subversive.In the future,with a constructive attitude,China will promote the international system in a more reasonable direction together with international partners,in order to better safeguard world peace and security,and promote sustainable development throughout the world.     

Black geographies of struggle and pleasure in Nona Faustine’s White Shoes

In Nona Faustine’s photo series of self-portraits, White Shoes, the artist’s body becomes the agent in exposing the instability of racialized historical geography. Faustine revisits New York City’s landmarks to address what is missing or made invisible: a slave ship, a fugitive woman’s rebirth, or African burial grounds. Making herself visible where she is supposed to remain invisible, she highlights the unacknowledged connection between national wealth, nationalism, geography, and black labor. She discloses the topography of her travels as a changeable terrain, where one slips from the national iconic to ambiguous and finally, to the sacred. I suggest that Faustine doesn’t seek to democratize the extant historical maps, but to shift the terms of reading the city’s geography. She lifts the boundaries between the polarized pathways of knowing – the secularized and the sacred, the living and the dead, the verifiable and the missing. This shift is also made possible by the medium of photography and a feminist turn towards pleasures in one’s body. As Faustine comes to terms with the psychic and cultural inheritance of the diaspora, she moves from the collective body of pain towards black women’s pleasure in their own bodies without purging the history of sexual trauma.     

Dis-Assembly Lines: gestures,situations, and surveillances

In “Americanism and Fordism,” Antonio Gramsci offers a brief meditation on the gestural performances of assembly-line workers who, rather than become subordinate to the disciplinary flow of the machine, cultivate perfectly timed gestures that allow workers to hide in plain sight: or, in other words, to inhabit the scene of management otherwise. Rather than extend Gramsci's investment in virtuosic, masterful performances of gesture, this article considers the potentiality of gesture through Lucille Ball's and Tehching Hsieh's performances of bad timing. As different as these performances are in terms of genre and historical situation, each uses gesture as a technique to performatively divide the labor process, producing fleeting temporalities of waste within rhythms marshaled toward production and accumulation. While it tracks the effects of these itinerant gestures, this article reconsiders the oppositions between productive and reproductive work, rationality and emotionality, and work and home that sustain Gramsci's theory, as well as how the collapse of such oppositions introduces alternative historical and artistic trajectories into theories of precariousness.     

How to live precariously: Lygia Clark's Caminhando and Tropicalism in 1960s Brazil

Economic booms and busts, major social upheavals, brutal military dictatorships: precariousness has been a feature of everyday life in Latin America since its independence. But what does it mean to “propose precariousness as a new idea of existence,” as Brazilian artist Lygia Clark did in 1966? This essay focuses on one specific work by Clark, her 1963 Caminhando, in order to explore the ways in which the very status of performative practices can respond to their social and political conditions and thus offer a model for a subjective experience of precariousness in everyday life. A close study of the process that led Clark to create precarious works will be further supplemented by a contextual analysis of debates about precariousness and adversity within the Tropicalist movement that emerged in late-1960s Brazil, which included artist Hélio Oiticica as well as singers and film-makers.     

Inscrutably,actually: hospitality,parasitism, and the silent work of Yoko Ono and Laurel Nakadate†

With interest in queer socialities, the author considers Jacques Derrida’s provocation in Of Hospitality to “say yes” as hospitable gesture in order to challenge the gendered and racialized demands of this charge. If Orientalist conflations of the East with femininity have in turn sexualized Asian women as simultaneously hypersexual and submissive, then how can we as viewers and readers performatively read Asian femininity in a different, and not anti-relational, orientation to hospitality? Building upon Anna Watkins Fisher’s concept of parasitic performance, this article posits inscrutability as a feminist methodology by considering Yoko Ono’s performances of Cut Piece and Laurel Nakadate’s video Happy Birthday for their interesting solicitations to audience-participants, costars, and viewers.     

Swampwalls: dark matter and the lumpen army of art

Dominant notions of contemporary art are being overturned not by some radical avant-garde theory or movement, but instead by an “uprising” from within the confines of the “art factory,” as well as by newly embodied instances of informal everyday creativity that high culture has long overlooked. Theorists Negt and Kluge might have described this insurrection as the partial unblocking of a counter-public or proletarian sphere: a realm of fragmented identities and working class fantasy generated in response to the alienating conditions of capitalism. A more specific cultural interpretation suggests this mutiny from within and assault from below is the irrepressible brightening of “creative dark matter:” that marginalized and systematically underdeveloped aggregate of creative productivity, which nonetheless reproduces the material and symbolic economy of high culture. The results are explosive, or at least potentially so as this long, pent-up shadow archive spills out into the once forbidden dwelling place of mainstream law and order and high cultural privilege. Meanwhile, a new wave of socially engaged art is thriving on the margins of the art world. Like an enormous production warehouse this “post-public” creativity is developing sustainable farming, reenacting historical labor demonstrations, providing public services lost to decades of deregulatory economic policy, and initiating local bartering systems and environmental cleanups. Its vitality is something Joseph Beuys could have only dream about. And not surprisingly even this “autonomous” and “Interventionist” art is selectively becoming part of the mainstream culture industry through what Gilles Deleuze describes as an “apparatus of capture.” Nevertheless, one result of this new confrontation reveals this vibrant imaginary “from below” is pushing artistic production, pushing also discourse, pedagogy and cultural institutions into radically re-thinking definitions and possibilities not only involving the possibilities of contemporary avant-garde art practices, but also about the very nature of creativity, democracy, and political agency more broadly.     

Now wash your hands: uncommissioned art and gender

Examining the urban arts in the UK, in their paint and fibre-based alternatives, this article aims to account for the differences in contemporary dealings with graffiti and yarn-bombing (kniffiti). The intersectional complications of gender, race, age and class, as they have come to bear on the visual arts, as well as the historical power structures that have determined the classification of crime, and of art, are offered as possible rationales for present-day handling of ‘deviance’ in the form of urban art. It seems that urban knitting has blind-sighted both social conventions and legal principles in a way that exposes the arbitrary nature of both.