Consensus does not mean peace. Instead it refers to a map of operations of war, of a topography of the visible, of what is possible and what can be thought, in which war and peace live side-by-side. This book explores the nature of consensus in contemporary politics. It aims to reopen that space wherein politics once more becomes thinkable.

Preface; The Head and the Stomach January 1996; Borges in Sarajevo March 1996; Fin de siecle and the New Millenary May 1996; Cold-blooded Racism July 1996; The Latest Enemy November 1996; The Grounded Plane January 1997; Dialectic in the Dialectic August 1997; Voyage to the Country of the Last Sociologists November 1997; Justice in the Past April 1998; A Crisis of Art or a Crisis of Thought? July 1998; Is Cinema to Blame? March 1999; The Nameless War May 1999; One's Right to the Image Can Destroy Another's October 1999; The Syllogism of Corruption October 2000; Voici/Voila: The Future of Images January 2001; From Facts to Interpretations: The New Quarrel over the Holocaust April 2001; From One Kind of Torture to Another June 2002; The Film Director, the People and the Governors August 2001; Time, Words, War November 2001; Philosophy in the Bathroom January 2002; Prisoners of the Infinite March 2002; From One May to Another June 2002; Victor Huge: Ambiguities of a Bicentenary August 2002; The Machine and the Foetus January 2003; A Dead Author or an Artist with too much Life? April 2003; The Logic of Amnesia June 2003; The Insecurity Principle September 2003; New Fictions of Evil November 2003; Criminal Democracy March 2004; The Troubling Heritage of Michel Foucault June 2004; The New Reasons for Lying August 2004; Beyond Art? October 2004; The Politics of Images February 2005; Democracy and its Doctors May 2005; Index.

"This collection shows us Jacques Rancière at his best. The chronicle is ideally suited for his style of thinking. Rancière philosophizes with a fine razor blade to take apart all the presuppositions behind our present-day consensus yet the effect is as fatal and irreversible as if he had used a sledge hammer." - Bruno Bosteels, Cornell University, USA