The essays collected in this book reflect some of the commitments and changes during the period that saw the women's movement shift into feminism and the development of feminism's involvement with the politics of representation, psychoanalytic film theory and avant-garde aesthetics.

    Far from being a part of the state, warriers (the army) are nomads who always come from the outside and keep threatening the authority of the state.In this daring essay inspired by Nietzsche, Gilles Deleuze and Felix Guattari redefine the relation between the state and its war machine. Far from being a part of the state, warriers (the army) are nomads who always come from the outside and keep threatening the authority of the state. In the same vein, nomadic science keeps infiltrating royal science, undermining its axioms and principles. Nomadology is a speedy, pocket-sized treatise that refuses to be pinned down. Theorizing a dynamic relationship between sedentary power and schizophrenic lines of flight, this volume is meant to be read in transit, smuggled into urban nightclubs, offices, and subways. Deleuze and Guattari propose a creative and resistant ethics of becoming-imperceptible, strategizing a continuous invention of weapons on the run. An anarchic bricolage of ideas uprooted from anthropology, aesthetics, history, and military strategy, Nomadology carries out Deleuze's desire to leave philosophy, but to leave it as a philosopher.

    This volume still stands as one of the most lucid and concise explanations of the origins and defining principles of Zen, from its beginnings in ancient India and its later transmission to China and Japan, to Watts’s revealing portrait of life in a contemporary Japanese Zen monastery. In The Spirit of Zen, Watts describes, in plain language but without robbing the subject of its provocative subtlety, how one can prepare for a life of Zen. He explains the sacrifices and surrenders, the requisite self-control; the baffling set of spiritual exercises known as Koan, which take the form of verbal jigsaw puzzles; the importance of mental discipline; and the need to recognize the futility of mere intellectual haggling — all necessary steps along the road to Zen. Through text and illustrations, the author examines the tea ceremony, ink-drawing, landscaping, and swordsmanship, all Zen-infused aspects of Japanese life; they give an understanding not only of Zen, but of Eastern culture in general.

    Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted."Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production.Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.

    In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words. These are reports from the front lines on the role of sound and digital media in an information-based society. The topics are as diverse as the contributors: composer Steve Reich offers a memoir of his life with technology, from tape loops to video opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writes about appropriation and plagiarism; science fiction writer Bruce Sterling looks at dead media; Ron Eglash examines racial signifiers in electrical engineering; media activist Naeem Mohaiemen explores the influence of Islam on hip hop; rapper Chuck D contributes "Three Pieces"; musician Brian Eno explores the sound and history of bells; Hans Ulrich Obrist and Philippe Parreno interview composer-conductor Pierre Boulez; and much more. "Press 'play, '" Miller writes, "and this anthology says 'here goes.'"The groundbreaking music that accompanies the book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music. Most of this content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music. To receive these free music files, readers may send an email to the address listed in the book.ContributorsDavid Allenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Cory Doctorow, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Paul D. Miller aka DJ Spooky that Subliminal Kid, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quaraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner

    In this revised and augmented English translation of his 1985 classic, Spinoza et la Politique, Etienne Balibar presents a synoptic account of Spinoza’s major works in relation to the political and historical conjuncture in which they were written. Balibar admirably demonstrates, through fine readings of the principal treatises, Spinoza’s relevance to contemporary political life.In successive chapters Balibar he examines the political situation in the United Provinces during Spinoza’s lifetime, Spinoza’s own religious and ideological associations, the concept of democracy developed in the Theologico-Political Treatise, the theory of the state advanced in the Political Treatise and the anthropological basis for politics established in the Ethics.Written with supreme clarity and engaging liveliness, this book will appeal to specialists and general audiences alike. It is certain to become the standard introductory work on Spinoza, an indispensable guide to the intricacies of this most vital of the seventeenth-century rationalists.

    Most of us complain that there aren't enough hours in the day and too many e-mails in our thumb-accessible inboxes. This widespread perception that life is faster than it used to be is now ingrained in our culture, and smartphones and the Internet are continually being blamed. But isn't the sole purpose of the smartphone to give us such quick access to people and information that we'll be free to do other things? Isn't technology supposed to make our lives easier?   In Pressed for Time, Judy Wajcman explains why we immediately interpret our experiences with digital technology as inexorably accelerating everyday life. She argues that we are not mere hostages to communication devices, and the sense of always being rushed is the result of the priorities and parameters we ourselves set rather than the machines that help us set them. Indeed, being busy and having action-packed lives has become valorized by our productivity driven culture. Wajcman offers a bracing historical perspective, exploring the commodification of clock time, and how the speed of the industrial age became identified with progress. She also delves into the ways time-use differs for diverse groups in modern societies, showing how changes in work patterns, family arrangements, and parenting all affect time stress. Bringing together empirical research on time use and theoretical debates about dramatic digital developments, this accessible and engaging book will leave readers better versed in how to use technology to navigate life's fast lane.

    He asserts that it is no accident that the upsurge of academic interest in science fiction since the 1970s coincides with the heyday of literary theory, and that likewise science fiction is one of the most theoretically informed areas of the literary profession. Extended readings of novels by five of the most important modern science fiction authors illustrate the affinity between science fiction and critical theory, in each case concentrating on one major novel that resonates with concerns proper to critical theory.Freedman's five readings are: Solaris: Stanislaw Lem and the Structure of Cognition; The Dispossessed: Ursula LeGuin and the Ambiguities of Utopia; The Two of Them: Joanna Russ and the Violence of Gender; Stars in My Pocket Like Grains of Sand: Samuel Delany and the Dialectics of Difference; The Man in the High Castle: Philip K. Dick and the Construction of Realities.

    The stock market is certainly rational; one can understand it, study it, capitalists know how to use it, and yet it is completely delirious, it is mad. That's why we say: the rational always is the rationality of an irrational. Marx is fascinated by capitalist mechanisms precisely because the system is demented, yet works very well at the same time. Down below, there are investments of desire that cannot be confused with the investments of interest: all kinds of libidinous-unconscious flows that make up the delirium of this society. The true history is the history of desire."This collection of essays and interviews edited by Sylvere Lotringer and published in 1995, focuses on the French anti-psychiatrist and theorist's work as director of the experimental La Borde clinic ("A Clinic Unlike Any Other") and longtime collaborator with the philosopher Gilles Deleuze."Chaosophy" is a groundbreaking introduction to Guattari's theories on "schizo-analysis" a process meant to replace Freudian interpretation with a more pragmatic, experimental, and collective approach rooted in reality. Unlike Freud, Guattari believes that schizophrenia is an extreme mental state induced by the capitalist system itself, which keeps enforcing neurosis as a way of maintaining normality. Guattari's post-Marxist vision of capitalism provides a new definition not only of mental illness, but also of the micropolitical means of its subversion.This collection contains key essays, such as, "Balance-Sheet Program for Desiring-Machines" and "Capitalism and Schizophrenia," co-signed by Deleuze (with whom he co-authored "Anti-Oedipus" and "A Thousand Plateaus"), and the perennially provocative "Everybody Wants To Be a Fascist.

    Our brains exist as historical products, developing in interaction with themselves and with their surroundings. Hence there is a thin line between the organization of the nervous system and the political and social organization that both conditions and is conditioned by human experience. Looking carefully at contemporary neuroscience, it is hard not to notice that the new way of talking about the brain mirrors the management discourse of the neo-liberal capitalist world in which we now live, with its talk of decentralization, networks, and flexibility. Consciously or unconsciously, science cannot but echo the world in which it takes place. In the neo-liberal world, 'plasticity' can be equated with 'flexibility'—a term that has become a buzzword in economics and management theory. The plastic brain would thus represent just another style of power, which, although less centralized, is still a means of control. In this book, Catherine Malabou develops a second, more radical meaning for plasticity. Not only does plasticity allow our brains to adapt to existing circumstances, it opens a margin of freedom to intervene, to change those very circumstances. Such an understanding opens up a newly transformative aspect of the neurosciences. In insisting on this proximity between the neurosciences and the social sciences, Malabou applies to the brain Marx's well-known phrase about history: people make their own brains, but they do not know it. This book is a summons to such knowledge.Collection: Perspectives in Continental Philosophy

    A collection of six essays, translated from the French, in which Cixous explores how the problematics of the sexes - viewed as a paradigm for all difference, the organizing principle behind identity and meaning - manifest and write themselves in texts.

    Best and Kellner provide:* An introduction and critique of the work of Foucault, Deleuze and Guattari, Baudrillard, Lyotard, Laclau and Mouffe, and Jameson, which assess the varying contributions and limitations of postmodern theory* A discussion of postmodern feminist theory and the politics of identity* A systematic study of the origin of the discourse of the postmodern in historical, sociological, cultural, and philosophical studies.The authors claim that while postmodern theory provides insights into contemporary developments, it lacks adequate methodological and political perspectives to provide a critical social theory and radical politics for the present age.

    Siegfried Kracauer--a prominent German film critic and member of Walter Benjamin's and Theodor Adorno's intellectual circle--broke new ground in exploring the connections between film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer's pioneering book, which examines German history from 1921 to 1933 in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel, has never gone out of print. Now, over half a century after its first appearance, this beautifully designed and entirely new edition reintroduces Kracauer for the twenty-first century. Film scholar Leonardo Quaresima places Kracauer in context in a critical introduction, and updates the book further with a new bibliography, index, and list of inaccuracies that crept into the first edition. This volume is a must-have for the film historian, film theorist, or cinema enthusiast.In From Caligari to Hitler, Siegfried Kracauer made a startling (and still controversial) claim: films as a popular art provide insight into the unconscious motivations and fantasies of a nation. In films of the 1920s, he traced recurring visual and narrative tropes that expressed, he argued, a fear of chaos and a desire for order, even at the price of authoritarian rule. The book has become an undisputed classic of film historiography, laying the foundations for the serious study of film.Kracauer was an important film critic in Weimar Germany. A Jew, he escaped the rise of Nazism, fleeing to Paris in 1933. Later, in anguish after Benjamin's suicide, he made his way to New York, where he remained until his death in 1966. He wrote From Caligari to Hitler while working as a "special assistant" to the curator of the Museum of Modern Art's film division. He was also on the editorial board of Bollingen Series. Despite many critiques of its attempt to link movies to historical outcomes, From Caligari to Hitler remains Kracauer's best-known and most influential book, and a seminal work in the study of film. Princeton published a revised edition of his Theory of Film: The Redemption of Physical Reality in 1997.

    It is notable also for elucidating the principles of "To each according to his contribution" as the basis for a "lower phase" of communist society directly following the transition from capitalism and "From each according to his ability, to each according to his needs" as the basis for a future "higher phase" of communist society. In describing the lower phase, he states that "the individual receives from society exactly what he gives to it" and advocates remuneration in the form of non-transferable labor vouchers as opposed to money.The Critique of the Gotha Program, published after his death, was among Marx's last major writings.

    They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute’s involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman’s poetry to Ed Ruscha’s photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity’s only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.