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.

    Thomas Lamarre contends that the history, techniques, and complex visual language of animation, particularly Japanese animation, demands serious and sustained engagement, and in The Anime Machine he lays the foundation for a new critical theory for reading Japanese animation, showing how anime fundamentally differs from other visual media.The Anime Machine defines the visual characteristics of anime and the meanings generated by those specifically "animetic" effects-the multiplanar image, the distributive field of vision, exploded projection, modulation, and other techniques of character animation-through close analysis of major films and television series, studios, animators, and directors, as well as Japanese theories of animation. Lamarre first addresses the technology of anime: the cells on which the images are drawn, the animation stand at which the animator works, the layers of drawings in a frame, the techniques of drawing and blurring lines, how characters are made to move. He then examines foundational works of anime, including the films and television series of Miyazaki Hayao and Anno Hideaki, the multimedia art of Murakami Takashi, and CLAMP's manga and anime adaptations, to illuminate the profound connections between animators, characters, spectators, and technology.Working at the intersection of the philosophy of technology and the history of thought, Lamarre explores how anime and its related media entail material orientations and demonstrates concretely how the "animetic machine" encourages a specific approach to thinking about technology and opens new ways for understanding our place in the technologized world around us.

    It's an essential ingredient in pop music and high art. Why do we choose accusations of elitism over open-mindedness? What do our anxieties about "pretending" say about us?Co-editor of frieze, Europe's foremost magazine of contemporary art and culture, Dan Fox has authored over two hundred essays, interviews, and reviews and contributed to numerous catalogues and publications produced by major international art galleries and institutions.

    As such, this is a critical survey of modern Western philosophy, focusing in particular on the complex relations between aesthetics, ethics & politics. Eagleton provides a brilliant & challenging introduction to these concerns, as characterized in the work of Kant, Schiller, Schopenhauer, Kierkegaard, Marx, Nietzsche, Freud, Heidegger, Lukacs, Adorno, Habermas & others. Wide in span, as well as morally & politically committed, this is his major work to date. It forms both an original enquiry & an exemplary introduction.

    With a new foreword by his daughter Mary Katherine Bateson, this classic anthology of his major work will continue to delight and inform generations of readers. "This collection amounts to a retrospective exhibition of a working life. . . . Bateson has come to this position during a career that carried him not only into anthropology, for which he was first trained, but into psychiatry, genetics, and communication theory. . . . He . . . examines the nature of the mind, seeing it not as a nebulous something, somehow lodged somewhere in the body of each man, but as a network of interactions relating the individual with his society and his species and with the universe at large."—D. W. Harding, New York Review of Books "[Bateson's] view of the world, of science, of culture, and of man is vast and challenging. His efforts at synthesis are tantalizingly and cryptically suggestive. . . .This is a book we should all read and ponder."—Roger Keesing, American Anthropologist

    His ideas were inspired by his contempt for the bourgeois values and traditional attitudes towards art that existed at the time. This volume contains the famous manifestos that first appeared between 1916 and 1921 that would become the basic texts upon which Dada was based. For Tzara, art was both deadly serious and a game. The playfulness of Dada is evident in the manifestos, both in Tzara's polemic—which often uses dadaist typography—as well as in the delightful doodles and drawings contributed by Francis Picabia. Also included are Tzara's Lampisteries, a series of articles that throw light on the various art forms contemporary to his own work. Post-war art had grown weary of the old certainties and the carnage they caused. Tzara was on the cutting edge at a time when art was becoming more subjective and abstract, and beginning to reject the reality of the mind for that of the senses.

    In a philosophical approach to color, William Gass explores man's perception of the color blue as well as its common erotic, symbolic, and emotional associations.

    Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama.Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.

    Tracing the color line of the Anthropocene, A Billion Black Anthropocenes or None examines how the grammar of geology is foundational to establishing the extractive economies of subjective life and the earth under colonialism and slavery. Yusoff initiates a transdisciplinary conversation between black feminist theory, geography, and the earth sciences, addressing the politics of the Anthropocene within the context of race, materiality, deep time, and the afterlives of geology.

    Professor Gellner asserts here that a society's affluence and economic growth depend on innovation, occupational mobility, the effectiveness of the mass media, universal literacy, and an all-embracing educational system based on a shared, standard idiom. These factors, taken together, govern the relationship between culture and the state. Political units that do not conform to the principle, one state, one culture feel the strain in the form of nationalistic activity.

    Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    How have we thought "the body"? How can we think it anew? The body of mortal creatures, the body politic, the body of letters and of laws, the "mystical body of Christ"-all these (and others) are incorporated in the word Corpus, the title and topic of Jean-Luc Nancy's masterwork.

    Back in print in a newly designed edition, this influential cultural, architectural, and social history of New York is even more popular, selling out its first printing on publication. Rem Koolhaas's celebration and analysis of New York depicts the city as a metaphor for the incredible variety of human behavior. At the end of the nineteenth century, population, information, and technology explosions made Manhattan a laboratory for the invention and testing of a metropolitan lifestyle -- "the culture of congestion" -- and its architecture. "Manhattan," he writes, "is the 20th century's Rosetta Stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall)." Koolhaas interprets and reinterprets the dynamic relationship between architecture and culture in a number of telling episodes of New York's history, including the imposition of the Manhattan grid, the creation of Coney Island, and the development of the skyscraper. Delirious New York is also packed with intriguing and fun facts and illustrated with witty watercolors and quirky archival drawings, photographs, postcards, and maps. The spirit of this visionary investigation of Manhattan equals the energy of the city itself.