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's midcentury critique of the American "culture industry" in the famous chapter, "The Culture Industry: Enlightenment as Mass Deception," of their Dialectic of Enlightenment. 1 But whereas Adorno, Horkheimer, and the Frankfurt School more generally focused their critique on how emergent capital logics were encoded in mass cultural forms, they paid little attention to questions of translatability across the complex cultural and social terrains of capital. The question of how one achieves a mass cultural object-a cultural object that can be translated across linguistic, cultural, and social contexts-still begs to be answered. This special issue explores a number of interrelated problems that arise from the question of a global market in cultural and aesthetic forms. These problems include the marketing of national literature, the politics of publishing (with emphasis on the postcolonial dominance of Anglophone or standard-language publishing houses), and the question of an emergent internationalized aesthetics. When the problem of a globalizing mass culture and public culture is approached from the perspective of translatability, new and important

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What can the universals of political philosophy offer to those who experience “the living paradox of an inegalitarian construction of egalitarian citizenship”? This title considers the necessary and necessarily antagonistic relation between the categories of citizen and subject. In this book, the question of modernity is framed anew with special attention to the self-enunciation of the subject (in Descartes, Locke, Rousseau, and Derrida), the constitution of the community as “we” (in Hegel, Marx, and Tolstoy), and the aporia of the judgment of self and others (in Foucault, Freud, Kelsen, and Blanchot). After the “humanist controversy” that preoccupied twentieth-century philosophy, the book proposes foundations for philosophical anthropology today, in terms of two contrary movements: the becoming-citizen of the subject and the becoming-subject of the citizen. The citizen-subject who is constituted in the claim to a “right to have rights” (Arendt) cannot exist without an underside that contests and defies it. He—or she, because the text is concerned throughout this volume with questions of sexual difference—figures not only the social relation but also the discontent or the uneasiness at the heart of this relation. The human can be instituted only if it betrays itself by upholding “anthropological differences” that impose normality and identity as conditions of belonging to the community. The violence of “civil” bourgeois universality, the text argues, is greater (and less legitimate, therefore less stable) than that of theological or cosmological universality. Right is thus founded on insubordination, and emancipation derives its force from otherness.

Recent philosophical tendencies of “Actor-Network Theory,” “Object-Oriented Ontology,” and “Speculative Realism” have profoundly challenged the centrality of subjectivity in the humanities, and many artists and curators, particularly in the UK, Germany, and the United States, appear deeply influenced by this shift from epistemology to ontology. October editors asked artists, historians, and philosophers invested in these projects—from Graham Harman and Alexander R. Galloway to Armen Avanessian and Patricia Falguières to Ed Atkins and Amie Siegel—to explore what the rewards and risks of assigning agency to objects may be, and how, or if, such new materialisms can be productive for making and thinking about art today.

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Drawing on the work of Lawrence Abu Hamdan, a British-Lebanese artist and researcher currently based in Beirut, this essay examines the juridical and conceptual field of critical forensis which is situated at the juncture of security studies, art, and architecture. Abu Hamdan extends forensics to the area of “new audibilities,” with a focus on the politics of juridical hearing in situations of legal-identity profiling and voice authentication (the “shibboleth test”). Abu Hamdan's projects investigate how accent monitoring and audio surveillance, voice recognition, translation technologies, sovereign acts of listening, and court determinations of linguistic norms emerge as so many technical constraints on “freedom of speech,” itself a malleable term ascribed to discrepant claims and principles, yet taking on performative force in site-specific situations.