Where much contemporary philosophy seeks to stave off the "threat" of nihilism by safeguarding the experience of meaning characterized as the defining feature of human existence-from the Enlightenment logic of disenchantment, this book attempts to push nihilism to its ultimate conclusion by forging a link between revisionary naturalism in Anglo-American philosophy and anti-phenomenological realism in recent French philosophy. Contrary to an emerging "post-analytic" consensus which would bridge the analytic-continental divide by uniting Heidegger and Wittgenstein against the twin perils of scientism and skepticism, this book short-circuits both traditions by plugging eliminative materialism directly into speculative realism.
In this posthumous collection of writings, Cornelius Castoriadis (1922-1997) pursues his incisive analysis of modern society, the philosophical basis of our ability to change it, and the points of intersection between his many approaches to this theme. His main philosophical postulate, that the human subject and society are not predetermined, asserts the primacy of creation and the possibility of creative, autonomous activity in every domain. This argument is combined with penetrating political and social criticism, opening numerous avenues of critical thought and action. The book's wide-ranging topics include the core worldview of ancient Athens, where the idea of self-creation and self-limitation made democracy possible; the wealth of poetic resources; a deconstruction of the so-called rationality of capitalism and of the current conception of democracy, along with a discussion of what a radical, revolutionary project means today; the role of what he calls the radical imagination in the creation of both societal institutions and history; the roots of hate; a psychoanalytic view of human development torn between heteronomy and autonomy; the role of education in forming autonomous individuals; and notions of chaos, space, and number.
"In The Bowery in two inadequate descriptive systems (1974—75), Martha Rosler bridged the concerns of art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the period and applies them to the social reality of New York’s Lower East Side. In this illustrated book, Steve Edwards carefully describes The Bowery and contextualizes it in relation to the work of the San Diego Group, examines the prevailing view of the work as a critique of documentary, studies its relation to Jean-Luc Godard and other examples of political modernism, and concludes with a speculative insertion of The Bowery within the pastoral tradition." - publisher's statement.
Dan Graham’s Rock My Religion (1982–84) is a video essay populated by punk and rock performers (Patti Smith, Jim Morrison, Black Flag and Glenn Branca) and historical figures (including Ann Lee, founder of the Shakers). This coming together of several narrative voice-overs, of singing and shouting voices, of jarring sounds and text overlaid onto shaky, gritty images, proposes a historical genealogy of rock music and an ambitious thesis on the origins of America. In this illustrated book, Kodwo Eshun examines this landmark work of contemporary moving image in relation to Graham’s wider body of work and to the broader culture of the time, especially in relation to history, popular culture, and individual and communal identity.
Here, for the first time, Christopher Kul-Want brings together twenty-five texts on art written by twenty philosophers. Covering the Enlightenment to postmodernism, these essays draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytic theory, and each is accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh’s shoes and the meaning of the Greek temple; Georges Bataille on Salvador Dal’s The Lugubrious Game ; Theodor W. Adorno on capitalism and collage; Walter Benjamin and Roland Barthes on the uncanny nature of photography; Sigmund Freud on Leonardo Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud’s postmodern critic, Gilles Deleuze on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. Kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Rancire, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant’s powerful legacy.
The result of a two-year ethnographic enquiry into the neuroendocrinology laboratory of Professor Roger Guillemin in La Jolla, California; the book explores the different steps in the construction of scientific facts and frame the different issues of the then emerging science studies. H. M. Collins (Isis): "Laboratory Life succeeds and will continue to succeed, and to win friends and allies, because it contains good, persuasive ideas, such as the analyses of modalities and of splitting. These ideas have been generated by excellent social scientists. All the rest is so much window undressing."
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