I have a short comment piece now published online in Geoforum, which discusses various different academic responses to The Arab Spring – amongst media theorists, leading lights in ‘Continental philosophy’, and anthropologists and other social scientists. It’s an attempt to raise some questions about what we have come to think Theory is, as revealed by academic public commentary on these ongoing events – contrasting a version of Theory practiced as the imposition of pre-disposed theoretical frameworks on the world, and a version in which theoretical ideas are thought of as somewhat more accountable to the contingencies of the world.
Avid readers of this blog (that’s you, Michael) might notice that this piece works over some more or less random thoughts already articulated back in February and March. Accidentally, this Geoforum piece became part of the experiment with this blogging-thing, as a way of turning a public-ish scrapbook into a slightly more honed piece of academic prose/analysis.
I have a new paper in Geoforum, just published online, titled Situating injustice in the geographies of democracy. It will be included in a special issue on space, contestation and the political, coming out of a workshop held in Zurich back in 2009, organised and now edited by Dave Featherstone, Benedikt Korf, Joris Van Wezemael. I’m not sure exactly when the whole issue will go live. My paper argues that contestation is rather more important to critical theories of deliberative democracy, broadly defined, than is usually acknowledged, and that it is understood in this work in ways that promise a more modest approach to thinking about the geographies of democratic politics than one finds in approaches that adopt a priori conceptions of what counts as ‘political’. It is one of a series of things I have been writing for the last couple of years on the topic of ‘all affected interests’, exploring how this idea from political science and political theory might be re-interpreted as the basis for thinking about geography and democracy; it’s the first of these pieces to actually get out into the world.