Or does it? This startling new account overturns conventional interpretations of Marx and in the process outlines a more rational approach to the current environmental crisis.Marx, it is often assumed, cared only about industrial growth and the development of economic forces. John Bellamy Foster examines Marx's neglected writings on capitalist agriculture and soil ecology, philosophical naturalism, and evolutionary theory. He shows that Marx, known as a powerful critic of capitalist society, was also deeply concerned with the changing human relationship to nature.Marx's Ecology covers many other thinkers, including Epicurus, Charles Darwin, Thomas Malthus, Ludwig Feuerbach, P. J. Proudhon, and William Paley.By reconstructing a materialist conception of nature and society, Marx's Ecology challenges the spiritualism prevalent in the modern Green movement, pointing toward a method that offers more lasting and sustainable solutions to the ecological crisis.

    Drawing upon the history of literature and art from the mid-nineteenth century to the present, Bourdieu develops an original theory of art conceived as an autonomous value. He argues powerfully against those who refuse to acknowledge the interconnection between art and the structures of social relations within which it is produced and received. As Bourdieu shows, art’s new autonomy is one such structure, which complicates but does not eliminate the interconnection.The literary universe as we know it today took shape in the nineteenth century as a space set apart from the approved academies of the state. No one could any longer dictate what ought to be written or decree the canons of good taste. Recognition and consecration were produced in and through the struggle in which writers, critics, and publishers confronted one another.

    Was Marx himself a 'Marxist'? Was his visionary promise of socialism betrayed by Marxist dictatorship? Is Marxism inevitably totalitarian? What did Marx really say? "Introducing Marxism" provides a fundamental account of Karl Marx's original philosophy, its roots in 19th century European ideology, his radical economic and social criticism of capitalism that inspired vast 20th century revolutions.

    Thisoften leads exasperated viewers to exclaim--is this really art?In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern, often sensational, works back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. In addition, Freeland guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Lastly, throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor.It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.

    The arche, or origin, is always also a command, and a beginning is always the first principle that governs and decrees. This is as true for theology, where God not only creates the world but governs and continues to govern through continuous creation, as it is for the philosophical and political tradition according to which beginning and creation, command and will, together form a strategic apparatus without which our society would fall apart.The five essays collected here aim to deactivate this apparatus through a patient archaeological inquiry into the concepts of work, creation, and command. Giorgio Agamben explores every nuance of the arche in search of an an-archic exit strategy. By the book's final chapter, anarchy appears as the secret center of power, brought to light so as to make possible a philosophical thought that might overthrow both the principle and its command.

    In 9.5 Theses on Art and Class and Other Writings Ben Davis takes on a broad array of contemporary art’s most persistent debates: How does creative labor fit into the economy? Is art merging with fashion and entertainment? What can we expect from political art? Davis argues that returning class to the center of discussion can play a vital role in tackling the challenges that visual art faces today, including the biggest challenge of all—how to maintain faith in art itself in a dysfunctional world.

    While progressive political movements, including the Marxist and feminist movements, have fought for equal pay, better work conditions, and the recognition of unpaid work as a valued form of labor, even they have tended to accept work as a naturalized or inevitable activity. Weeks argues that in taking work as a given, we have “depoliticized” it, or removed it from the realm of political critique. Employment is now largely privatized, and work-based activism in the United States has atrophied. We have accepted waged work as the primary mechanism for income distribution, as an ethical obligation, and as a means of defining ourselves and others as social and political subjects. Taking up Marxist and feminist critiques, Weeks proposes a postwork society that would allow people to be productive and creative rather than relentlessly bound to the employment relation. Work, she contends, is a legitimate, even crucial, subject for political theory.

    Drawing upon years of research, acclaimed biographer Mary Gabriel brings to light the story of Karl and Jenny Marx's marriage. We follow them as they roam Europe, on the run from governments amidst an age of revolution and a secret network of would-be revolutionaries, and see Karl not only as an intellectual, but as a protective father and loving husband, a revolutionary, a jokester, a man of tremendous passions, both political and personal. In LOVE AND CAPITAL, Mary Gabriel has given us a vivid, resplendent, and truly human portrait of the Marxes-their desires, heartbreak and devotion to each other's ideals.

    Written by an author of great repute. The history of the 20th century is Marx's legacy. Not since Jesus Christ has an obscure pauper inspired such global devotion – or been so calamitously misinterpreted. The end of the century is a good moment to strip away the mythology and try to rediscover Marx the man. There have been many thousands of books on Marxism, but almost all are written by academics and zealots for whom it is a near blaspemy to treat him as a figure of flesh and blood.In the past few years there have been excellent and successful biographies of many eminent Victorians and yet the most influential of them has remained untouched. In this book Francis Wheen, for the first time, presens Marx the man in all his brilliance and frailty – as a poverty-stricken Prussian emigre who became a middle-class English gentleman; as an angry agitator who spent much of his adult life in scholarly silence in the British Museum Reading Room; as a gregarious and convivial host who fell out with almost all his friends; as a devoted family man who impregnated his housemaid; as a deeply earnest philosopher who loved drink, cigars and jokes.

    Analyzing a variety of Marx's writings, including journalistic work written for the New York Tribune, Anderson presents us with a Marx quite at odds with our conventional interpretations. Rather than providing us with an account of Marx as an exclusively class-based thinker, Anderson here offers a portrait of Marx for the twenty-first century: a global theorist whose social critique was sensitive to the varieties of human social and historical development, including not just class, but nationalism, race, and ethnicity, as well.Marx at the Margins ultimately argues that alongside his overarching critique of capital, Marx created a theory of history that was multi-layered and not easily reduced to a single model of development or revolution. Through highly-informed readings on work ranging from Marx's unpublished 1879-82 notebooks to his passionate writings about the antislavery cause in the United States, this volume delivers a groundbreaking and canon-changing vision of Karl Marx that is sure to provoke lively debate in Marxist scholarship and beyond.

    Over the past two centuries or so, capitalism has undergone continual change - economic cycles that lurch from boom to bust - and has always emerged transformed and strengthened. Surveying this turbulent history, Paul Mason wonders whether today we are on the brink of a change so big, so profound, that this time capitalism itself, the immensely complex system by which entire societies function, has reached its limits and is changing into something wholly new.At the heart of this change is information technology: a revolution that, as Mason shows, has the potential to reshape utterly our familiar notions of work, production and value; and to destroy an economy based on markets and private ownership - in fact, he contends, it is already doing so. Almost unnoticed, in the niches and hollows of the market system, whole swathes of economic life are changing.. Goods and services that no longer respond to the dictates of neoliberalism are appearing, from parallel currencies and time banks, to cooperatives and self-managed online spaces. Vast numbers of people are changing their behaviour, discovering new forms of ownership, lending and doing business that are distinct from, and contrary to, the current system of state-backed corporate capitalism.In this groundbreaking book Mason shows how, from the ashes of the recent financial crisis, we have the chance to create a more socially just and sustainable global economy. Moving beyond capitalism, he shows, is no longer a utopian dream. This is the first time in human history in which, equipped with an understanding of what is happening around us, we can predict and shape, rather than simply react to, seismic change.

    The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind the construction of the Israeli wall. This is where the truth of these images lies. Truth, but not veracity. As virtual as the war itself, their specific violence adds to the specific violence of the war. In The Conspiracy of Art, Baudrillard questions the privilege attached to art by its practitioners. Art has lost all desire for illusion: feeding back endlessly into itself, it has turned its own vanishment into an art unto itself. Far from lamenting the end of art, Baudrillard celebrates art's new function within the process of insider-trading. Spiraling from aesthetic nullity to commercial frenzy, art has become transaesthetic, like society as a whole. Conceived and edited by life-long Baudrillard collaborator Sylv�re Lotringer, The Conspiracy of Art presents Baudrillard's writings on art in a complicitous dance with politics, economics, and media. Culminating with War Porn, a scathing analysis of the spectacular images from Abu Ghraib prison as a new genre of reality TV, the book folds back on itself to question the very nature of radical thought.

    Structuralist, post-structuralist, deconstructed Marxes bloomed in journals and seminar rooms across the US and Europe. These Marxes and their interpreters struggled to interpret the world, and sometimes to interpret Marx himself, losing sight at times of his dictum that the challenge is not to interpret the world but to change it. In 1979, Harry Cleaver tossed an incendiary device called Reading Capital Politically into those seminar rooms. Through a close reading of the first chapter, he shows that Das Kapital was written for the workers, not for academics, and that we need to expand our idea of workers to include housewives, students, the unemployed, and other non-waged workers. Reading Capital Politically provides a theoretical and historical bridge between struggles in Europe in the 60s and 70s and, particularly, the Autonomia of Italy to the Zapatistas of the 90s. His introduction provides a brilliant and succinct overview of working class struggles in the century since Capital was published. Cleaver adds a new preface to the AK Press/Anti-Thesis edition.

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.