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A unique fusion of comics culture and philosophical cogitation takes readers on a ride through time, space, and thought.Approaching the comic medium as a supercollider for achieving maximum abstraction, in Chronosis artist Keith Tilford and philosopher Reza Negarestani create a graphically stunning and conceptually explosive universe in which the worlds of pop culture, modern art, philosophy, science fiction, and theoretical physics crash into one another.Taking place after the catastrophic advent of the birth of time, Chronosis narrates the story of a sprawling multiverse at the center of which monazzeins, the monks of an esoteric time-cult, attempt to build bridges between the many fragmented tribes and histories of multiple possible worlds. Across a series of dizzying overlapping stories we glimpse worlds where time flows backward, where the universe can be recreated every five minutes, or where rigid facts are washed away by the tides of an infinite ocean of possibility.A unique fusion of comics culture and philosophical cogitation, this conceptually and visually mind-expanding tale takes the reader on a dizzying rollercoaster ride through time, space, and thought.This volume contains the entire Chronosis series in full color, along with additional background materials including early sketches, script notes, and alternative covers.

An existential odyssey weaving together lived experience and theoretical insight, this startling autobiographical hyperfiction surveys and dissects a world where everything connects and global technological delirium is the norm.The mediascapes of late capitalism reconfigure erotic responses and trigger primal aggression; under constant surveillance, we occupy simulations of ourselves, private estates on a hyperconnected globe; fictions reprogram reality, memories are rewritten by the future...Fleeing the excesses of 1990s cyberculture, a young researcher sets out to systematically analyse the obsessively reiterated themes of a writer who prophesied the disorienting future we now inhabit. The story of his failure is as disturbingly psychotropic as those of his magus—J.G. Ballard, prophet of the post-postmodern, voluptuary of the car crash, surgeon of the pathological virtualities pulsing beneath the surface of reality.Plagued by obsessive fears, defeated by the tedium of academia, yet still certain that everything connects to Ballard, his academic thesis collapses into a series of delirious travelogues, deranged speculations and tormented meditations on time, memory, and loss. Abandoning literary interpretation and renouncing all scholarly distance, he finally accepts the deep assignment that has run throughout his entire life, and embarks on a rogue fieldwork project: Applied Ballardianism, a new discipline and a new ideal for living. Only the darkest impulses, the most morbid obsessions, and the most apocalyptic paranoia can uncover the technological mutations of inner space.An existential odyssey inextricably weaving together lived experience and theoretical insight, this startling autobiographical hyperfiction surveys and dissects a world where everything connects and global technological delirium is the norm—a world become unmistakably Ballardian.

A systematic historical survey of Chinese thought is followed by an investigation of the historical-metaphysical questions of modern technology, asking how Chinese thought might contribute to a renewed questioning of globalized technics.Heidegger's critique of modern technology and its relation to metaphysics has been widely accepted in the East. Yet the conception that there is only one—originally Greek—type of technics has been an obstacle to any original critical thinking of technology in modern Chinese thought.Yuk Hui argues for the urgency of imagining a specifically Chinese philosophy of technology capable of responding to Heidegger's challenge, while problematizing the affirmation of technics and technologies as anthropologically universal.This investigation of the historical-metaphysical question of technology, drawing on Lyotard, Simondon, and Stiegler, and introducing a history of modern Eastern philosophical thinking largely unknown to Western readers, including philosophers such as Feng Youlan, Mou Zongsan, and Keiji Nishitani, sheds new light on the obscurity of the question of technology in China. Why was technics never thematized in Chinese thought? Why has time never been a real question for Chinese philosophy? How was the traditional concept of Qi transformed in its relation to Dao as China welcomed technological modernity and westernization?In The Question Concerning Technology in China, a systematic historical survey of the major concepts of traditional Chinese thinking is followed by a startlingly original investigation of these questions, in order to ask how Chinese thought might today contribute to a renewed, cosmotechnical questioning of globalized technics.

A classic of Brazilian literature is twinned with an overheated tract in which tropical delirium swallows up Western philosophy, attacking the decolonial question with poetic ferocity.A classic of Brazilian literature is twinned with an overheated tract in which tropical delirium swallows up Western philosophy. Both attack the decolonial question with poetic ferocity, ignited by the moment when colonialist rationality meets its limits in the "magnificent disorder" of the Amazon jungle. Described in Eduardo Viveiros de Castro’s foreword as "no longer an interpretation of Brazil but an interpenetration with Brazil," Jean-Christophe Goddard’s strange theory-fiction plunges Western philosophy into the great American schizophrenia, where its ordered categories are devored by uncontainable contaminations—first and foremost the rainforest itself, a "monstrosity unapproachable by the cogito." In 1664, the Portuguese Bento de Espinosa wrote of his terrifying hallucination of "a scabby black Brazilian." But rather than a vision of "the Other," the dream figure was a frightful glimpse of Bento’s own duplicity. Upon adopting the "clean white nickname" of Benedict de Spinoza, the philosopher cut ties with his homeland and its colonial misadventures, repudiating this specter that flees along the lines of migration: "Spinoza is American … the journey is intensive." And in his wake, a cannibalized cast of conceptual personae are sucked into Goddard’s Pernambucan delirium: Franny Deleuze, Dina Levi-Strauss, Chaya Ohloclitorispector, Galli Mathias… The rainforest also precipitates a deregulation of the senses in Verdant Inferno, Alberto Rangel’s classic 1904 work of Brazilian literature. In Rangel’s astonishing tales, this "poet-engineer" sent into the dark interior as a state representative records his encounters in a style that shimmers between objective documentary and visionary limit experience.

Two original essays scrutinize the use of acoustic camouflage, and the function of toolkits as maps of internal dread and environmental threat.The weaponization of listening, and the technical cartography of anxiety. Two original essays scrutinize the use of acoustic camouflage, and the function of toolkits as maps of internal dread and environmental threat.  In Phantom Lure Angus Carlyle explores the ways in which the frequency spectrum can become a site for disguise and deception. Acoustic camouflage is deployed in the concrete curves of sound mirrors, military battlefield sensors, and snipers’ sonic concealment tactics, but also in the silent steps of the hunter and the mimicry of duck calls, antler rattles, and fox flutes.  This trail of decoys leads us into forensic acoustic analysis, electronic voice phenomena, and music encrypted with secret signals—from Metal Gear Solid to "Windowlicker," from moths’ thoraxes to horror-film whispers, from Silent Escape to Turing tests and vocoders. Sam Forsythe’s Every Day Catastrophes is an essay for the anxious, the paranoid, and the overly prepared. From the everyday carry of the urban explorer to the bug-out bag for total apocalypse, the toolkits we assemble in order to forestall anticipated yet unforeseen disasters are abstract environmental maps. Tools compress place, matter, and relation into the portable abstractions of points, edges, and levers. But they also embody inner landscapes, topographies shaped by anxiety and fear. Every Day Catastrophes navigates this terrain of technics and terror, exploring how we equip ourselves for the unspecified threat conditions of modern life and tool up for anxiety-inducing futures.

An inventive philosophical study that reconsiders the figure of the tourist.Tourism is a characteristically modern phenomenon, yet modern thinkers have tended to deride the tourist as a figure of homogenizing globalism. This philosophical study considers the tourist anew, as a subject position that enables us to redraw the map of globalized culture in an era increasingly in revolt against the liberal intellectual worldview and its call for the welcome of the "Other." Why has the tourist proved so resistant to philosophical treatment, asks Hiroki Azuma. Tracing the reasons for this exclusion through the work of Rousseau and Voltaire, and subsequently in Kant, Carl Schmitt, Alexandre Kojève, Hannah Arendt, and Hardt and Negri, Azuma contends that the figure of the tourist has been rendered illegible by becoming ensnared in a series of misleading conceptual dichotomies and a linear model of world history. In the widening gap between the infrastructure of globalization and inherited ties of local and national belonging, Azuma’s retheorization of the tourist presents an alternative to the choice between doubling down on local identity and roots, or hoping for the spontaneous uprising of a multitude from within the great networked Empire. For the tourist is the subject capable of moving most freely between the strata of the global and the local.  With explorations of the connection between tourism and fan fiction, contingency and "misdelivery," cyberspace and the uncanny, and dark tourism, Azuma’s inventive and optimistic philosophical essay sheds unexpected new light on a mode of engagement with the world that is familiar to us all.

Neorationalism as a distinctive philosophical trajectory, exploring the outermost possibilities of Prometheanism, Inhumanism, and Enlightenment.What is the fate of Reason in the twenty-first century? Today more than ever, in the face of disinformation, memetic plagues, and neuroactive media, if we are to resist not just the continual solicitation of our cognitive reflexes, but also the unearned authority of endless everyman rationalists and self-appointed secular priests of rationality, then we have no choice but to mobilize Reason to continually dissect the responsibilities they shirk, and to embrace the future demands of thought. Peter Wolfendale has long been dedicated to this philosophical task, and The Revenge of Reason lays out his vision for Neorationalism as a distinctive philosophical trajectory, exploring the outermost possibilities of Prometheanism, Inhumanism, and Enlightenment. This volume collects interviews and writings on various philosophical figures and topics, addressing the deepest questions of Physis, Logos, and Ethos—all with exemplary clarity and pedagogical generosity. Against those who would chain the fate of humanity to its animal nature, Wolfendale’s work makes the case for unbinding our rationality from every petty naturalism and every fixed image of thought, heralding an inhuman destiny unleashed by the revenge of Reason.

How one of the leading artists of Neo-Concretism Hélio Oiticica presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures.“The IMAGE-grip is dislocated and a more fundamental element emerges: in short, IMAGE is not the work’s supreme motive or unifying end.”—Hélio Oiticica  At the turn of the 1950s–1960s, one of the leading artists of Neo-Concretism, Hélio Oiticica, presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures. In the wake of this vivência of “time-color,” which subordinates the aesthetic to the sensorimotor powers of color, Oiticica’s transcategorial, transmedia works critically and clinically undermine physical and social architecture, while semiotically subverting the forms of domination exerted by the image. In this culmination of their reassessment of the relation among art, philosophy, and the contemporary, Éric Alliez and Jean-Claude Bonne show how these works are exemplary not only of a truly diagrammatic thought and practice, but also of the South’s resistance against the coldly indifferent globalism endemic to the pacified institutions of contemporary art. Oiticica’s tropicalization of the commonplaces of sixties art signals the latent potential of a marginal dissidence from both the aesthetic form of art and the conceptual form of anti-art.

Grelet''s solitary sailor is a radical theoretical figure, herald angel of an existential rebellion against the world and against philosophy''s world-thought.Over a decade ago, Gilles Grelet left the city to live permanently on the sea, in silence and solitude, with no plans to return to land, rarely leaving his boat Théorème. An act of radical refusal, a process of undoing one by one the ties that attach humans to the world, for Grelet this departure was also inseparable from an ongoing campaign of anti-philosophy. Like François Laruelle''s "ordinary man" or Rousseau''s "solitary walker," Grelet''s solitary sailor is a radical theoretical figure, herald angel of an existential rebellion against the world and against philosophy''s world-thought, point zero of an anti-philosophy as rigorous gnosis, and apprentice in the herethics of navigation.More than a set of scattered reflections, less than a system of thought, Theory of the Solitary Sailor is a gnostic device. It answers the supposed necessity of realizing the world-thought that is philosophy (or whatever takes its place) with a steadfast and melancholeric refusal. As indifferently serene and implacably violent as the ocean itself, devastating for the sufficiency of the world and the reign of semblance, this is a lived anti-philosophy, a perpetual assault waged from the waters off the coast of Brittany, amid sea and wind.

An "operating manual for contemporary art" that addresses the work of Daniel Buren, Gordon Matta-Clark, and Günter Brus.The late 1960s saw a radical undoing of the image in—and of—art, as the questions of art began to be posed in entirely new terms. In this critical and clinical examination of the post-conceptual condition’s negotiations with the image, the body, capitalist semiotics, and the built environment, Éric Alliez and Jean-Claude Bonne trace the trajectories of three artists, three key entries in the lexicon that are also entryways into contemporary art understood as a ‘diagrammatic regime’ inextricably related, in particular, to architecture.  Daniel Buren systematically deconstructs all the forms of autonomy of art, through a tenacious in situ critique at once pragmatic and ontological operated by his "visual tool," traced here from its origins to recent major museum installations; Gordon Matta-Clark’s anarchitectural operation across site and non-site strikes at the functional foundations of architectural structuring, physical, social, and semiotic—a dis-organization and disorientation relayed by his photographic documentation of his projects. Viennese actionist Günter Brus’s action drawings/drawing actions and "stress tests" recircuit markmaking, representation, and corporeality, producing wordless "electroglyphs" that render visible the inscription of relations of force within the body. This "operating manual for contemporary art," richly illustrated and based throughout on close readings of the artists’ works, writings, and actions across their entire careers, is an indispensable diagram of the lines of flight opened up by contemporary art, as well as the omnipresent threat of its capture by anesthesia and dematerialization, spectacle, the dogma of “site-specificity,” and absorption into the neoliberal experience economy.

How humanity came to contemplate its possible extinction.From forecasts of disastrous climate change to prophecies of evil AI superintelligences and the impending perils of genome editing, our species is increasingly concerned with the prospects of its own extinction. With humanity''s future on this planet seeming more insecure by the day, in the twenty-first century, existential risk has become the object of a growing field of serious scientific inquiry. But, as Thomas Moynihan shows in X-Risk, this preoccupation is not exclusive to the post-atomic age of global warming and synthetic biology. Our growing concern with human extinction itself has a history.Tracing this untold story, Moynihan revisits the pioneers who first contemplated the possibility of human extinction and stages the historical drama of this momentous discovery. He shows how, far from being a secular reprise of religious prophecies of apocalypse, existential risk is a thoroughly modern idea, made possible by the burgeoning sciences and philosophical tumult of the Enlightenment era. In recollecting how we first came to care for our extinction, Moynihan reveals how today''s attempts to measure and mitigate existential threats are the continuation of a project initiated over two centuries ago, which concerns the very vocation of the human as a rational, responsible, and future-oriented being.

An artist and a mathematician debate, find common ground, and jointly create an assemblage that is neither (or both) an artwork and a mathematical model.A week-long residency project brought together artist Conrad Shawcross and mathematician Matthew Watkins to reflect on the ways in which artists use (or misuse) scientific and mathematical concepts. Secrets of Creation documents this fascinating meeting of worlds, presenting both the week''s discussions and debates, and the project upon which Shawcross and Watkins subsequently embarked.Navigating a route that tacked between formalism and natural language, experts and laymen, quantity and quality, poetics and mechanics, Shawcross and Watkins gradually forged a shared discourse in which the concerns of the artist and those of the mathematician could find a common ground. The project ended with their joint creation of an assemblage that was neither (or both) an artwork and a mathematical model.

A disturbing portrait of a society deliriously dreaming itself as eternal, instantaneous, and infinite.At least for the time being, we humans are still finite and mortal—but death isn''t what it used to be. As the body is technologically extended in space and time, we are split between our finitude and our doubled presence in a limitless web of signs, an “immortal” world of information.After Death offers a penetrating philosophical diagnosis of our contemporary condition, describing not only an anesthesia, but an amnesia in which the compulsions of a hyper-present colonize both past and future, prevailing over any sense of duration, becoming, or appreciation of the “thickness of the real.”Are we living in a kind of counterfeit eternity in which we are effectively already dead? Against the anxiety of the constant present, how can we hope to return to the experience of being in time and facing death?After Death is a disturbing portrait of a society deliriously dreaming itself as eternal, instantaneous, and infinite.

A geophilosophical odyssey through the remains of Cornwall''s industrial past offers a historical portrait of geotrauma in action.This unique document provides a pioneering case study in post-“site-specific” geophilosophy. Based on a weird field trip into Cornwall''s mining heartlands with geologists, philosophers, and ecologists as guides, Hydroplutonic Kernow drills down through nature, industry, and cultural capital to site the local within the global, unfolding the telluric plots that manipulated populations and devastated the landscape during the industrial age. In doing so, it provides a historical portrait of geotrauma in action.This geophilosophical odyssey takes us through the remains of the region''s industrial past, reading them through the twisted prism of the geocosmic theory of trauma espoused by legendary “cryptographer” Dr. Daniel Barker and further developed by Iranian philosopher Reza Negarestani, and uncovering the deep plot of the Hydroplutonic Conspiracy, the collusion between water and the depths of the earth.Along with full documentation of the trip, the book also contains exegetical materials including an essay by Reza Negarestani, a poem by Jake Chapman, a preface by Caitlin DeSilvey, and an in-depth interview with Mining Engineer Steve Tarrant.

A riotous new take on a classic fictional dystopia, with an all-you-can-eat quinoa buffet of wrongthink. With 2+2=5, George Orwell''s flawed masterpiece finally receives a much-needed rectification, as Jake Chapman takes us on a bad trip into an atrocious alt-Eurasia--a nightmare utopia of 24/7 self-expression, mandatory wellbeing, yogic breathing, and promiscuous empathy. Yippie wonks in open-toed sandals have ejected the evil capitalist overlords, compassion and charity reign supreme, buckwheat salad and artisan cashew cheese are in plentiful supply, and all strive to live their best life, all the time.Employed by the Ministry to rectify misfortunes issuing from a curious glitch in the system, Winston Smith finds that his creative urges are unexpectedly awoken, and he is driven to express his deepest place, voice, and hurt through the medium of poetry. But what connects Winston''s furtive scribblings in My Big Book of Me to the unpleasantnesses emanating from the deep glitch? Is Julia really the perfect kooky carefree soulmate she seems to be? Can O''Brien be trusted? And when does the new season of Big Brother start?An all-you-can-eat quinoa buffet of wrongthink, Chapman''s twisted vision is a bracing reminder that dystopia is just wishful thinking, and that the worst can always get worster.

Perspectives from philosophy, aesthetics, and art on how to envisage the construction site of possible worlds.Given the highly coercive and heavily surveilled dynamics of the present moment, when the tremendous pressures exerted by capital on contemporary life produces an aggressively normative “official reality,” the question of the construction of other possible worlds is crucial and perhaps more urgent than ever.This collection brings together different perspectives from the fields of philosophy, aesthetics, and art to discuss the mechanisms through which possible worlds are thought, constructed, and instantiated, forcefully seeking to overcome the contemporary moment''s deficit of conceptualizing alternate realities—its apparent fear of imagining possible new and compelling futures—to begin the arduous task of producing the political dynamics necessary for actual construction.Implicit in this dynamic between the imaginary and the possible is the question of how thinking intertwines with both rationality and the inherited contingencies and structures of the world. With no ascertainable ground on which to build, with no confidence in any given that could guarantee our labors, how do we even envisage the construction site(s) of possible worlds, and with what kind of diagrams, tools, and languages can we bring them into being?

A detailed examination of the motivations and precise coordinates of Duchamp's break from painting into the field of the linguistic sign.Matisse and Duchamp seem to incarnate ideal poles of the tension internal to modern art as it plunged into crisis the idea of the image—a polemical operation that opened the way to contemporary art's auto-problematization of experimental constructivism. Where Matisse subverted the aesthetic regime by bringing painting out of itself to invest its environment in a Bergsonian energetics of color, Duchamp cuts it off from the plastic arts through a reversal of Bergson's in-the-making. The readymade captures a literalized signifier of this perspective. Duchamp Looked At is an extraordinarily rich philosophical study that offers a startling new account of the dis/continuity between the problems of contemporary art and the new articulations Duchamp fabricated between image and idea, science and art, painting and language. Alliez and Bonne's meticulous archaeological survey rediscovers the real problems and motivations of "Duchamp-thought” through a close analysis of his entire oeuvre: from the Nudes in which the problem of representing movement is gradually displaced into the realm of the virtual, the image disqualified in favor of the diagram, to the pataphysical sciences of chance and the particular, the readymades, the Large Glass and Étant donnés—and beyond, as the artist carbonizes the gallery with 1200 Sacks of Coal and ties it up with Miles of String, in installations that take Duchamp beyond Duchamp.

The historical continuity of spinal catastrophism, traced across multiform encounters between philosophy, psychology, biology, and geology.Drawing on cryptic intimations in the work of J. G. Ballard, Georges Bataille, William Burroughs, André Leroi-Gourhan, Elaine Morgan, and Friedrich Nietzsche, in the late twentieth century Daniel Barker formulated the axioms of spinal catastrophism: If human morphology, upright posture, and the possibility of language are the ramified accidents of natural history, then psychic ailments are ultimately afflictions of the spine, which itself is a scale model of biogenetic trauma, a portable map of the catastrophic events that shaped that atrocity exhibition of evolutionary traumata, the sick orthograde talking mammal.Tracing its provenance through the biological notions of phylogeny and "organic memory” that fueled early psychoanalysis, back into idealism, nature philosophy, and romanticism, and across multiform encounters between philosophy, psychology, biology, and geology, Thomas Moynihan reveals the historical continuity of spinal catastrophism. From psychoanalysis and myth to geology and neuroanatomy, from bioanalysis to chronopathy, from spinal colonies of proto-minds to the retroparasitism of the CNS, from "railway spine” to Elizabeth Taylor's lost gill-slits, this extravagantly comprehensive philosophical adventure uses the spinal cord as a guiding thread to rediscover forgotten pathways in modern thought. Moynihan demonstrates that, far from being an fanciful notion rendered obsolete by advances in biology, spinal catastrophism dramatizes fundamental philosophical problematics of time, identity, continuity, and the transcendental that remain central to any attempt to reconcile human experience with natural history.

An artist examines the plethora of Europe Squares, Europa Places, Places de l''Europe, and Europaplatzes and what they tell us about the ideality of “Europe.”If the built environment is a record of our modes of organization and the compromises we make in order to live together, then what are we to make of the plethora of Europe Squares, Europa Places, Places de l''Europe, and Europaplatzes? Public spaces that connect numerous disparate towns and cities through a “supersite” called Europe, they may appear as avatars of an idea in crisis, as “eurocentric values” and the concept of Europe as a unified political space are attacked and eroded from all sides.Atlas Europe Square documents a body of work by Swiss artist Yves Mettler who, since 2003, has engaged in an ongoing mapping and documentation of these sites, along with a series of projects triangulating between particular squares, interrogating their differing architectural, environmental, and public functions, and what they tell us about the ideality of “Europe” and the (im)possibility of its concrete instantiation.Here this work is extended into reflections on the relationship between art and public space, site-specificity, and the artist''s own implication in the imaginary of Europe as he becomes enmeshed in a network of projects, funds, and public bodies that seek to promote "European culture" through art.Alongside extensive photographic documentation, Atlas Europe Square contains texts by the artist alongside essays by Reza Negarestani, Teresa Pullano, Laurent Thévenot, and Stephen Zepke, discussing Mettler''s work.

A multidisciplinary collection of essays reflecting on Cold War cultural tropes in film, fiction, and contemporary art, and the models of knowledge that they imply.If the term "Cold World” describes a world of infinite complexity, algorithmic capital, and the technological sublime, in many ways the dread experienced during the Cold War, when clear oppositions were laid out between nation states, is echoed in the hall of mirrors of Cold World globalization, where our collective consciousness is overtaken by a flood of difference, uncertainty, and the dread of the incomputability of this alien yet constructed world.But what is the crime scene of the Cold World? How is it to be decrypted? Where are its discontinuities, what is the nature of its violence? This is to say, what is our place in this alien world and how do we even compute the "we” that we describe ourselves to be?Given the existential uncertainty unleashed for those who lived through the Cold War, but whose repercussions are in many ways amplified, relayed, and replayed in a new form for those who must now survive what has been called the "Cold World”—that of technological subjectivation, political malaise, cultural dysphoria, and ecological crisis—this terrain comprises an experiential and experimental horizon that prompts many to pose, and to stage in myriad forms, a fundamental question: "What will we of make of ourselves?”Cold War/Cold World documents a research project in progress that attempts to evaluate and respond to this fundamental shock to the system, examining attempts to render knowable, representable, or figurable the looming threats of both Cold War and Cold World—the common denominator being a distressed attempt to inquire into the dynamics of a real that seems in excess over understanding and the means of politics traditionally conceived; and a concomitant temptation to abandon any intelligent collective engagement in favour of a pragmatics that limits itself to wrestling with local contingencies, or an aesthetics mesmerised by a global sublime.

A close analysis of the work of Brazilian artist Ernesto Neto reveals the fundamental stakes of a contemporary art in the process of undoing the image-form.The first volume of Éric Alliez and Jean-Claude Bonne's major work on contemporary art begins by outlining their exploratory and speculative project: not so much to produce a new "philosophy of art” as to enter into a space in-between philosophy and art—between a contemporary philosophy of contemporary art and an art contemporary with contemporary philosophy.But what exactly is the "contemporary”? And how can we make ourselves, philosophically, the contemporaries of works whose problematic nature no longer sits well under the categories of the "aesthetic,” inherited from romanticism?In these case-studies of an art-thought that is inseparable from the continued construction of the very concept of a "contemporary art,” philosophical analysis is continually displaced by the forces of works and practices of creation and reception that herald a new—processual and post-conceptual—configuration of art, with Matisse and Duchamp—Matisse-thought and Duchamp-thought—establishing a tension that, since the 1960s, has been "recharged” by the micropolitical options which have given rise to the critical and clinical problematisation of art.Moving through and beyond the thought of Deleuze and Guattari, the discovery of a diagrammatic regime of the contemporary synonymous with an undoing of the image of the aesthetic regime of art begins here with the work of Brazilian artist Ernesto Neto, as a close analysis of the diagrammatic forces at work in Leviathan Thot, Neto's major 2006 intervention in the Panthéon de la république, reveals the fundamental stakes of a contemporary art in the process of undoing the image-form.Neto's "anarchitectural denunciation” takes on the (Hobbesian) metaphysical enunciation of the Leviathan-state, which his monstrous "counter-installation” recalls and reproblematizes by placing all of the Panthéon's physical and metaphysical coordinates into and under tension. Grappling with this foreign body both critically and clinically, Alliez and Bonne reveal how the "Neto Operation” engages with nothing less than the image of power in its relation to the power of the image that animates it and endows it with a discursive existence.

Collection of interventions on the status of the moving image in an age of advanced simulation, exploring the contemporary links between power, simulation, and warfare.

A detailed critical examination of the concept of noise, its significance in scientific disciplines, and its use and misuse in the humanities and sonic arts.In this wide-ranging inquiry, Inigo Wilkins elaborates the theoretical and practical significance of the concept of noise with regard to current debates concerning realism, materialism, and rationality. Drawing on contemporary scientific thinking, Wilkins develops a multilevel analysis of noise, exploring the associated notions of randomness and unpredictability across different disciplinary contexts. Wilkins articulates noise within a functionalist-computationalist philosophical framework that follows Wilfrid Sellars's inferentialist account of reason through his commentaries on Hume and Kant. Outlining the significance of noise to information theory and cybernetics, its relation to thermodynamics, dynamic systems theory, evolutionary biology, and complexity theory, and to recent theories in cognitive science and AI, he goes on to examine how randomness and noise are pertinent to political economy and contemporary finance. Finally, Wilkins explores noise in its specifically sonic guise, looking in particular at the phenomenology of listening and neurophenomenological models of auditory cognition, and situating the use of noise in experimental and popular music within a deep historical account of its evolutionary development. The central aim of this pioneering critical work is to demystify noise—to counter the neoliberal politics of self-organizing systems and the tendency to fetishize indeterminacy in contemporary art—by showing how constrained randomness is intrinsic to the functional organization of complex hierarchically nested systems, including higher cognition, and how the navigation of noise is a necessary condition of reason and consequently of freedom.

A reevaluation of Matisse that reveals the complex function of his work and thought in contemporary art's escape from the image, from traditional forms of art, and even from the art form itself.

Startling pulp theory-fictions, forays into cyberculture, occultural studies and popular numerics, paranoid cosmic conspiracy, and schizoid tactics for escaping the reality system recovered from the prehistoric lore of Lemurian Time Sorcery.

An unprecedented meeting of philosophical thought, financial markets, and the art world.

A panoramic survey of the vast spectrum of modern and contemporary mathematics and the new philosophical possibilities they suggest.A panoramic survey of the vast spectrum of modern and contemporary mathematics and the new philosophical possibilities they suggest, this book gives the inquisitive non-specialist an insight into the conceptual transformations and intellectual orientations of modern and contemporary mathematics.The predominant analytic approach, with its focus on the formal, the elementary and the foundational, has effectively divorced philosophy from the real practice of mathematics and the profound conceptual shifts in the discipline over the last century. The first part discusses the specificity of modern (1830-1950) and contemporary (1950 to the present) mathematics, and reviews the failure of mainstream philosophy of mathematics to address this specificity. Building on the work of the few exceptional thinkers to have engaged with the "real mathematics” of their era (including Lautman, Deleuze, Badiou, de Lorenzo and Châtelet), Zalamea challenges philosophy's self-imposed ignorance of the "making of mathematics.”In the second part, thirteen detailed case studies examine the greatest creators in the field, mapping the central advances accomplished in mathematics over the last half-century, exploring in vivid detail the characteristic creative gestures of modern master Grothendieck and contemporary creators including Lawvere, Shelah, Connes, and Freyd.Drawing on these concrete examples, and oriented by a unique philosophical constellation (Peirce, Lautman, Merleau-Ponty), in the third part Zalamea sets out the program for a sophisticated new epistemology, one that will avail itself of the powerful conceptual instruments forged by the mathematical mind, but which have until now remained largely neglected by philosophers.

Addresses the "deanthropomorphization" of reality initiated by the Copernican Revolution and the enduring chasm between the spontaneous image of reality bequeathed to us by evolution and that revealed by the sciences in the wake of Copernicus.