In this book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre.In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker’s hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music. This relationship between philosophy and horror does not mean the philosophy of horror, if anything, it means the reverse, the horror of philosophy: those moments when philosophical thinking enigmatically confronts the horizon of its own existence. For Thacker, the genre of supernatural horror is the key site in which this paradoxical thought of the unthinkable takes place.

    This timely and vibrant book provides frameworks for thinking critically about the roles of digital media in personal relationships. Rather than providing exuberant accounts or cautionary tales, it offers a data-grounded primer on how to make sense of these important changes in relational life.The book identifies the core relational issues these media disturb and shows how the ways we talk about them echo historical discussions about earlier communication technologies. Chapters explore how we use mediated language and nonverbal behavior to develop and maintain communities, social networks, new relationships, and to maintain relationships in our everyday lives. It combines research findings with lively examples to address questions such as whether mediated interaction can be warm and personal, whether people are honest about themselves online, whether relationships that start online can work, and whether using these media damages the other relationships in our lives. Throughout, the book argues for approaching these questions with firm understandings of the qualities of media as well as the social and personal contexts in which they are developed and used.Personal Connections in the Digital Age will be required reading for all students and scholars of media, communication studies, and sociology, as well as all those who want a firmer understanding of digital media and everyday life.

    Ricoeur first takes a phenomenological approach to memory and mnemonical devices. The underlying question here is how a memory of present can be of something absent, the past. The second section addresses recent work by historians by reopening the question of the nature and truth of historical knowledge. Ricoeur explores whether historians, who can write a history of memory, can truly break with all dependence on memory, including memories that resist representation. The third and final section is a profound meditation on the necessity of forgetting as a condition for the possibility of remembering, and whether there can be something like happy forgetting in parallel to happy memory. Throughout the book there are careful and close readings of the texts of Aristotle and Plato, of Descartes and Kant, and of Halbwachs and Pierre Nora.A momentous achievement in the career of one of the most significant philosophers of our age, Memory, History, Forgetting provides the crucial link between Ricoeur's Time and Narrative and Oneself as Another and his recent reflections on ethics and the problems of responsibility and representation.“His success in revealing the internal relations between recalling and forgetting, and how this dynamic becomes problematic in light of events once present but now past, will inspire academic dialogue and response but also holds great appeal to educated general readers in search of both method for and insight from considering the ethical ramifications of modern events. . . . It is indeed a master work, not only in Ricoeur’s own vita but also in contemporary European philosophy.”—Library Journal “Ricoeur writes the best kind of philosophy—critical, economical, and clear.”— New York Times Book Review

    Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.

    . . . / What is it good for? / Absolutely nothing," says the famous song—but archaeology, history, and biology show that war in fact has been good for something. Surprising as it sounds, war has made humanity safer and richer.In War! What Is It Good For?, the renowned historian and archaeologist Ian Morris tells the gruesome, gripping story of fifteen thousand years of war, going beyond the battles and brutality to reveal what war has really done to and for the world. Stone Age people lived in small, feuding societies and stood a one-in-ten or even one-in-five chance of dying violently. In the twentieth century, by contrast—despite two world wars, Hiroshima, and the Holocaust—fewer than one person in a hundred died violently. The explanation: War, and war alone, has created bigger, more complex societies, ruled by governments that have stamped out internal violence. Strangely enough, killing has made the world safer, and the safety it has produced has allowed people to make the world richer too.War has been history's greatest paradox, but this searching study of fifteen thousand years of violence suggests that the next half century is going to be the most dangerous of all time. If we can survive it, the age-old dream of ending war may yet come to pass. But, Morris argues, only if we understand what war has been good for can we know where it will take us next.

    By gathering essays that exemplify the new thinking about matter and processes of materialization, this important collection shows how scholars are reworking older materialist traditions, contemporary theoretical debates, and advances in scientific knowledge to address pressing ethical and political challenges. In the introduction, Diana Coole and Samantha Frost highlight common themes among the distinctive critical projects that comprise the new materialisms. The continuities they discern include a posthumanist conception of matter as lively or exhibiting agency, and a reengagement with both the material realities of everyday life and broader geopolitical and socioeconomic structures.Coole and Frost argue that contemporary economic, environmental, geopolitical, and technological developments demand new accounts of nature, agency, and social and political relationships; modes of inquiry that privilege consciousness and subjectivity are not adequate to the task. New materialist philosophies are needed to do justice to the complexities of twenty-first-century biopolitics and political economy, because they raise fundamental questions about the place of embodied humans in a material world and the ways that we produce, reproduce, and consume our material environment.ContributorsSara AhmedJane BennettRosi BraidottiPheng CheahRey ChowWilliam E. ConnollyDiana CooleJason EdwardsSamantha FrostElizabeth GroszSonia KruksMelissa A. Orlie

    The authors argue that only by having a sense of common ground between mind in Science and mind in experience can our understanding of cognition be more complete. Toward that end, they develop a dialogue between cognitive science and Buddhist meditative psychology and situate it in relation to other traditions such as phenomenology and psychoanalysis.

    Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    An inventive blend of autobiography, science writing, philosophy, and advice, this book tells the wild story of his personal and professional life as a scientist, from his childhood in the UFO territory of New Mexico, to the loss of his mother, the founding of the first start-up, and finally becoming a world-renowned technological guru. Understanding virtual reality as being both a scientific and cultural adventure, Lanier demonstrates it to be a humanistic setting for technology. While his previous books offered a more critical view of social media and other manifestations of technology, in this book he argues that virtual reality can actually make our lives richer and fuller. Dawn of the New Everything is ultimately a look at what it means to be human at a moment of unprecedented technological possibility, giving readers a new perspective on how the brain and body connect to the world.

    Now Steven Shaviro maps this quickly emerging speculative realism, which is already dramatically influencing how we interpret reality and our place in a universe in which humans are not the measure of all things.The Universe of Things explores the common insistence of speculative realism on a noncorrelationist thought: that things or objects exist apart from how our own human minds relate to and comprehend them. Shaviro focuses on how Whitehead both anticipates and offers challenges to prevailing speculative realist thought, moving between Whitehead’s own panpsychism, Harman’s object-oriented ontology, and the reductionist eliminativism of Quentin Meillassoux and Ray Brassier.The stakes of this recent speculative realist thought—of the effort to develop new ways of grasping the world—are enormous as it becomes clear that our inherited assumptions are no longer adequate to describe, much less understand, the reality we experience around us. As Shaviro acknowledges, speculative realist thought has its dangers, but it also, like the best speculative fiction, holds the potential to liberate us from confining views of what is outside ourselves and, he believes, to reclaim aesthetics and beauty as a principle of life itself.Bringing together a wide array of contemporary thought, and evenhandedly assessing its current debates, The Universe of Things is an invaluable guide to the evolution of speculative realism and the provocation of Alfred North Whitehead’s pathbreaking work.

    This major work of ecological philosophy startles the senses out of habitual ways of perception.For a thousand generations, human beings viewed themselves as part of the wider community of nature, and they carried on active relationships not only with other people with other animals, plants, and natural objects (including mountains, rivers, winds, and weather patters) that we have only lately come to think of as inanimate. How, then, did humans come to sever their ancient reciprocity with the natural world? What will it take for us to recover a sustaining relation with the breathing earth?In The Spell of the Sensuous David Abram draws on sources as diverse as the philosophy of Merleau-Ponty, Balinese shamanism, Apache storytelling, and his own experience as an accomplished sleight-of-hand of magician to reveal the subtle dependence of human cognition on the natural environment. He explores the character of perception and excavates the sensual foundations of language, which--even at its most abstract--echoes the calls and cries of the earth. On every page of this lyrical work, Abram weaves his arguments with a passion, a precision, and an intellectual daring that recall such writers as Loren Eisleley, Annie Dillard, and Barry Lopez.

    Through its ability to nurture trees, matsutake helps forests to grow in daunting places. It is also an edible delicacy in Japan, where it sometimes commands astronomical prices. In all its contradictions, matsutake offers insights into areas far beyond just mushrooms and addresses a crucial question: what manages to live in the ruins we have made? A tale of diversity within our damaged landscapes, The Mushroom at the End of the World follows one of the strangest commodity chains of our times to explore the unexpected corners of capitalism. Here, we witness the varied and peculiar worlds of matsutake commerce: the worlds of Japanese gourmets, capitalist traders, Hmong jungle fighters, industrial forests, Yi Chinese goat herders, Finnish nature guides, and more. These companions also lead us into fungal ecologies and forest histories to better understand the promise of cohabitation in a time of massive human destruction.By investigating one of the world's most sought-after fungi, The Mushroom at the End of the World presents an original examination into the relation between capitalist destruction and collaborative survival within multispecies landscapes, the prerequisite for continuing life on earth.

    Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    The essays in this volume are intriguing, challenging, & often baffling to the reader, calling him to abandon all superficial scanning & to enter wholeheartedly into the serious pursuit of thinking. Heidegger is not a 'primitive' or a 'romantic.' He is not one who seeks escape from the burdens & responsibilities of contemporary life into serenity, either through the re-creating of some idyllic past or through the exalting of some simple experience. Finally, Heidegger is not a foe of technology & science. He neither disdains nor rejects them as though they were only destructive of human life. The roots of Heidegger's thinking lie deep in the Western philosophical tradition. Yet that thinking is unique in many of its aspects, in its language, & in its literary expression. In the development of this thought Heidegger has been taught chiefly by the Greeks, by German idealism, by phenomenology, & by the scholastic theological tradition. In him these & other elements have been fused by his genius of sensitivity * intellect into a very individual philosophical expression."--William Lovitt's Introduction

    Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.