It comprises myriad smaller archives, in which Benjamin gathered together all kinds of artefacts, assortments of images, texts and signs, themselves representing experiences, ideas and hopes, each of which was enthusiastically logged, systematized and analyzed by their author. In them, Benjamin laid the groundwork for the salvaging of his own legacy.This unique book, produced in association with the Benjamin Archive, delves into these archives. They include carefully laid-out manuscripts; photographs of a home with luxurious furniture, arcades, Russian toys; picture postcards from Tuscany and the Balearics; meticulous and unconventional registers, card indexes and catalogs; notebooks, in which every single square centimeter is covered; a collation of his son's first words and sentences; riddles and enigmatic Sibyls. Everything here is subtly interlinked with everything else.Intricate and intimate, Walter Benjamin's Archive leads right into the core of his work, yielding a rich and detailed portrait of its author.

    The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI's profound engagement with the art and cultural politics of their time (1957-1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith.Guy Debord and the Situationist International supplements both sections. It reprints important, hard to find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI's writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI's reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932-1994), the impresario of the SI, especially known for his book The Society of the Spectacle.

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power.The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power.The Field of Cultural Production will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies.

    Wark explores the implications of Anthropocene through the story of two empires, the Soviet and then the American. The fall of the former prefigures that of the latter. From the ruins of these mighty histories, Wark salvages ideas to help us picture what kind of worlds collective labor might yet build. From the Russian revolution, Wark unearths the work of Alexander Bogdanov—Lenin’s rival—as well as the great Proletkult writer and engineer Andrey Platonov.The Soviet experiment emerges from the past as an allegory for the new organizational challenges of our time. From deep within the Californian military-entertainment complex, Wark retrieves Donna Haraway’s cyborg critique and science fiction writer Kim Stanley Robinson’s Martian utopia as powerful resources for rethinking and remaking the world that climate change has wrought. Molecular Red proposes an alternative realism, where hope is found in what remains and endures.

    At the same time, as a new wave of nationalism and right-wing politics spreads across the world, fewer and fewer people are being convinced that socialism could improve their everyday lives, let alone save us from our own destruction.In this timely and explosive book, philosopher and YouTuber Jonas Čeika (aka Cuck Philosophy) re-invigorates socialism for the twenty-first century. Leaving behind its past associations with bureaucracy and state tyranny, and it's lifeless and drab theoretical accounts, Čeika instead uses the works of Marx and Nietzsche to reconnect socialism with its human element, presenting it as something not only affecting, but created by living, breathing, suffering human individuals.At a time when ecological collapse is hurtling towards us, and capitalism offers no solution except more growth and exploitation, How to Philosophise with a Hammer and Sickle shows us the way forward to a socialism grounded in human experience and accessible to all.

    Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we think, but also the subjects we deem worthy of intellectual investigation. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century.Grand Hotel Abyss combines biography, philosophy, and storytelling to reveal how the Frankfurt thinkers gathered in hopes of understanding the politics of culture during the rise of fascism. Some of them, forced to escape the horrors of Nazi Germany, later found exile in the United States. Benjamin, with his last great work—the incomplete Arcades Project—in his suitcase, was arrested in Spain and committed suicide when threatened with deportation to Nazi-occupied France. On the other side of the Atlantic, Adorno failed in his bid to become a Hollywood screenwriter, denounced jazz, and even met Charlie Chaplin in Malibu.After the war, there was a resurgence of interest in the School. From the relative comfort of sun-drenched California, Herbert Marcuse wrote the classic One Dimensional Man, which influenced the 1960s counterculture and thinkers such as Angela Davis; while in a tragic coda, Adorno died from a heart attack following confrontations with student radicals in Berlin.By taking popular culture seriously as an object of study—whether it was film, music, ideas, or consumerism—the Frankfurt School elaborated upon the nature and crisis of our mass-produced, mechanised society. Grand Hotel Abyss shows how much these ideas still tell us about our age of social media and runaway consumption.

    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.

    Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's "peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity." He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism; their worlds do not communicate, just as the genius of those who created them - Masoch and Sade - lie stylistically, philosophically, and politically poles a part. Venus in Furs, the most famous of all of Masoch's novels was written in 1870 and belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here - fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness - these do not eclipse the singular power of Masoch's eroticism.

    Building on the works of Morand, Marinetti, and McLuhan, Virilio presents a vision more radically political than that of any of his French contemporaries: speed as the engine of destruction. Speed and Politics presents a topological account of the entire history of humanity, honing in on the technological advances made possible through the militarization of society. Paralleling Heidegger's account of technology, Virilio's vision sees speed―not class or wealth―as the primary force shaping civilization. In this "technical vitalism," multiple projectiles―inert fortresses and bunkers, the "metabolic bodies" of soldiers, transport vessels, and now information and computer technology―are launched in a permanent assault on the world and on human nature. Written at a lightning-fast pace, Virilio's landmark book is a split-second, overwhelming look at how humanity's motivity has shaped the way we function today, and what might come of it.

    Presided over by the magnetic and intellectually coruscating figure of Althusser, the structuralist Marxists attempted no less than an intellectual revolution against dominant interpretations of Marx. Seeking to cleanse Marx of all Hegelian impurities and recast his thought on a rigorously scientific basis, in this work Althusser and one of his most brilliant students and colleagues, Etienne Balibar, subjected Marx’s method in Capital, his critique of classical political economy, and the fundamental terms of historical materialism, to searching textual analysis and challenging conceptual reconstruction. Inaugurating a new way of reading Marx that was to prove both intensely stimulating and capable of generating fierce controversy, Reading Capital is a work that cannot be bypassed by anyone interested in Marxism, and in theory more generally, in this century.

    Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Already translated into five languages, this English edition of The Politics of Aesthetics includes a new afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.

    In a series of searching, propulsive essays, Davis, the bestselling author of City of Quartz and recipient of a MacArthur Fellowship, explores Marx’s inquiries into two key questions of our time: Who can lead a revolutionary transformation of society? And what is the cause—and solution—of the planetary environmental crisis?Davis consults a vast archive of labor history to illuminate new aspects of Marx’s theoretical texts and political journalism. He offers a “lost Marx,” whose analyses of historical agency, nationalism, and the “middle landscape” of class struggle are crucial to the renewal of revolutionary thought in our darkening age. Davis presents a critique of the current fetishism of the “anthropocene,” which suppresses the links between the global employment crisis and capitalism’s failure to ensure human survival in a more extreme climate. In a finale, Old Gods, New Enigmas looks backward to the great forgotten debates on alternative socialist urbanism (1880–1934) to find the conceptual keys to a universal high quality of life in a sustainable environment.