By Jeffrey C. Goldfarb, February 8th, 2013 
To skip this introduction and go directly to Daniel Dayan’s In-Depth Analysis, “On Un-publics: Former Publics, Future Publics, Almost Publics, Observers and Genealogies,” click here.
In today’s “in depth” post, Daniel Dayan examines publics in depth, from different analytic viewpoints, drawing upon the insights of a broad range of thinkers. Dayan considers what comes before and after “publics,” the diversity of types of publics, their relationships, their life histories, how their projects are realized, or not, how they are related to audiences. He analyzes the way publics perform and show, how they watch and are watched. It is an elegant and challenging rumination, valuable, because it clarifies how thinkers who often don’t seem to understand each other are actually talking to each other in a serious way. And I should add that the study of publics is especially important to me because it is my field, and Daniel and I have been talking about it for a long time. This piece advances the conversation.
I was struck by a number of telling observations, one particularly hits close to my intellectual home, related to my research on Polish theater, and my colleague, Eiko Ikegami’s studies of “linked poetry,” in her book Bonds of Civility.
“Aesthetic publics (the reading publics of literature, the active publics of theater, the connoisseur publics of music and the arts) have always been singled out as exemplary by theorists of the public sphere, and by Habermas in particular. Yet, despite this ostensible privilege, aesthetic publics have been often ignored, or analyzed as mere training grounds for political publics. ‘Salons’ were first celebrated, and then turned into antechambers to the streets. Interestingly the publics, which tend to be best studied, are political publics. Aesthetic publics have been often neglected. This is why approaches that pay aesthetic publics more than a lip service, approaches such as those of Goldfarb (2006) or Ikegami (2000) are so important.”
Ikegami and I examine the relationship between art and politics through the analysis of publics. Dayan approves. He notes that aesthetic publics have been an important . . .
Read more: Introduction to “On Un-publics”
By Daniel Dayan, February 8th, 2013 The Diversity of “Non-Publics”: Former Publics, Future Publics
Publics are far from constituting a monolithic ensemble, an obedient army marching in good order. The nature of their concerns allows defining at least three types of publics. First there are political publics, which could be called following Dewey’s model “issue driven” publics. Political publics are flanked on one side by taste publics or aesthetic publics, which are oriented towards “texts” or “performances.” They are flanked on the other side, by recognition seeking publics for whom the dimension of visibility tends to be a major goal (Dayan 2005, Ehrenberg 2008). “Recognition seeking publics” (such as those of soccer or popular music) use their involvement with games or performances in order to endow themselves with visible identities. They can easily turn into political publics
Aesthetic publics (the reading publics of literature, the active publics of theater, the connoisseur publics of music and the arts) have always been singled out as exemplary by theorists of the public sphere, and by Habermas in particular. Yet, despite this ostensible privilege, aesthetic publics have been often ignored, or analyzed as mere training grounds for political publics. “Salons” were first celebrated, and then turned into antechambers to the streets. Interestingly the publics, which tend to be best studied, are political publics. Aesthetic publics have been often neglected. This is why approaches that pay aesthetic publics more than a lip service, approaches such as those of Goldfarb (2006) or Ikegami (2000) are so important.
Of course, the three types of publics outlined above are ideal types. We know they often overlap in reality. But, besides overlapping or “ morphing ” into each other, they share an important dimension. Publics have careers. They have biographies. They go through different stages, including birth, growth, fatigue, aging, death, and some -times resuscitation. Let us first address moments and ways in which publics fade, disappear, and become “non publics.”
A Matter of Life and Death
First of all, publics can die a natural death. They can become “non publics” because what brought them into life no longer exists or no longer attracts their attention. But we should also consider other, much less consensual possibilities: termination or suicide.
Publics can . . .
Read more: On Un-publics: Former Publics, Future Publics, Almost Publics, Observers and Genealogies
By Jeffrey C. Goldfarb, July 27th, 2012 
The seminar on “New New Social Movements” has just ended and our tentative findings are in: there is indeed a new kind of social movement that has emerged in the past couple of years. Our task has been to identify and understand the promise and perils of this new movement type, to specify its common set of characteristics, its causes and likely consequences. We began our investigations in Wroclaw and will continue in the coming months. This is the first of a series of progress reports summarizing our deliberations of the past couple of weeks. -Jeff
The new movements are broad and diverse. Our informed discussions ranged from the uprisings of the Arab Spring, to Occupy Wall Street, including also the protests in major Romanian cities and the mining region, protests against the Anti-Counterfeiting Trade Agreement (ACTA) in Poland, protests in Israel concerning issues of housing, food, healthcare and other social demands, and the protests in Russia over the absence of democracy in the conduct of the affairs of state and elections. Participants with special knowledge of these social movements presented overviews in light of the social science theory and research of our common readings. We then all compared and contrasted the movements. We worked to identify commonalities and differences in social movement experiences.
We started with readings and a framework for discussion as I reported here. I had a hunch, a working hypothesis: the media is the message, to use the motto of Marshall McCluhan. But I thought about this beyond the social media, as in “this is the Facebook revolution.” Rather my intuition, which the seminar participants supported, told me that the social form (in this sense the media) rather than the content is what these movements share.
There is a resemblance with the new social movements of the recent past studied by Alain Touraine and Alberto Melucci, but there is something else that distinguishes the new social movements of the moment: a generational focus on the creation of new publics to address major . . .
Read more: Politics as an End in Itself: From the Arab Spring to OWS, and Beyond – Part 1
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