The system of objects
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The System of Objects is a tour de force—a theoretical letter-in-a-bottle tossed into the ocean in 1968, which brilliantly communicates to us all the live ideas of the day—offering a cultural critique of the commodity in consumer society.
The system of objects
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$25.95
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The System of Objects is a tour de force—a theoretical letter-in-a-bottle tossed into the ocean in 1968, which brilliantly communicates to us all the live ideas of the day—offering a cultural critique of the commodity in consumer society.
Critical Theory
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A classic of twentieth-century thought, Minima Moralia is Adorno's literary and philosophical masterpiece Written between 1944 and 1947, Minima Moralia is a collection of rich, lucid aphorisms and essays about life in modern capitalist society. Adorno casts his penetrating eye across society in mid-century America and finds a life deformed by capitalism. This is(...)
Minima moralia: reflections from a damaged life
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A classic of twentieth-century thought, Minima Moralia is Adorno's literary and philosophical masterpiece Written between 1944 and 1947, Minima Moralia is a collection of rich, lucid aphorisms and essays about life in modern capitalist society. Adorno casts his penetrating eye across society in mid-century America and finds a life deformed by capitalism. This is Adorno's theoretical and literary masterpiece and a classic of twentieth-century thought.
Critical Theory
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In the twenty-first century, new technologies should liberate us from work. Automation, rather than undermining an economy built on full employment, is instead the path to a world of liberty, luxury and happiness—for everyone. Technological advance will reduce the value of commodities—food, healthcare and housing—towards zero. Improvements in renewable energies will(...)
Fully automated luxury communism: a manifesto
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In the twenty-first century, new technologies should liberate us from work. Automation, rather than undermining an economy built on full employment, is instead the path to a world of liberty, luxury and happiness—for everyone. Technological advance will reduce the value of commodities—food, healthcare and housing—towards zero. Improvements in renewable energies will make fossil fuels a thing of the past. Asteroids will be mined for essential minerals. Genetic editing and synthetic biology will prolong life, virtually eliminate disease and provide meat without animals. New horizons beckon. In Fully Automated Luxury Communism, Aaron Bastani conjures a vision of extraordinary hope, showing how we move to energy abundance, feed a world of 9 billion, overcome work, transcend the limits of biology, and establish meaningful freedom for everyone. Rather than a final destination, such a society merely heralds the real beginning of history.
Critical Theory
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In Recollections of My Nonexistence, Rebecca Solnit describes her formation as a writer and as a feminist in 1980s San Francisco, in an atmosphere of gender violence on the street and throughout society and the exclusion of women from cultural arenas. She tells of being poor, hopeful, and adrift in the city that became her great teacher, and of the small apartment that,(...)
Recollections of my nonexistence: a memoir
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In Recollections of My Nonexistence, Rebecca Solnit describes her formation as a writer and as a feminist in 1980s San Francisco, in an atmosphere of gender violence on the street and throughout society and the exclusion of women from cultural arenas. She tells of being poor, hopeful, and adrift in the city that became her great teacher, and of the small apartment that, when she was nineteen, became the home in which she transformed herself. She explores the forces that liberated her as a person and as a writer–books themselves; the gay community that presented a new model of what else gender, family, and joy could mean; and her eventual arrival in the spacious landscapes and overlooked conflicts of the American West.
Critical Theory
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In 'influx & efflux' Jane Bennett pursues a question that was bracketed in her book Vibrant Matter: how to think about human agency in a world teeming with powerful nonhuman influences? 'Influx & efflux'—a phrase borrowed from Whitman's 'Song of Myself'—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then(...)
Influx & efflux: writing up with Walt Whitman
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In 'influx & efflux' Jane Bennett pursues a question that was bracketed in her book Vibrant Matter: how to think about human agency in a world teeming with powerful nonhuman influences? 'Influx & efflux'—a phrase borrowed from Whitman's 'Song of Myself'—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then exit, themselves having been transformed into something new. How to describe the human efforts involved in that process? What kinds of 'I' and 'we' can live well and act effectively in a world of so many other lively materialities? Drawing upon Whitman, Thoreau, Caillois, Whitehead, and other poetic writers, Bennett links a nonanthropocentric model of self to a radically egalitarian pluralism and also to a syntax and style of writing appropriate to the entangled world in which we live.
Critical Theory
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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: a secret history
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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.
Critical Theory
Derrida, suppléments
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Il ne s’agit pas d’ajouter quelque chose à Derrida. Pas non plus de suppléer à des manques chez lui. Rien du double sens de ce mot dont il a fait une de ses signatures conceptuelles. Ces textes écrits au gré des circonstances – colloques, ouvrages collectifs – et au fil de 25 années ne sont ni des études, ni des commentaires, ni des interprétations de la pensée de(...)
Derrida, suppléments
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Il ne s’agit pas d’ajouter quelque chose à Derrida. Pas non plus de suppléer à des manques chez lui. Rien du double sens de ce mot dont il a fait une de ses signatures conceptuelles. Ces textes écrits au gré des circonstances – colloques, ouvrages collectifs – et au fil de 25 années ne sont ni des études, ni des commentaires, ni des interprétations de la pensée de Derrida. Ce sont, pour le dire ainsi, des réponses à sa présence.
Critical Theory
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Sur quoi repose la société de l'Internet? Quels enjeux environnementaux et sociaux soulève le bonheur de la connexion permanente? À quels renoncements, à quels sacrifices mène la numérisation de nos vies? Les technologies se sont multipliées sans véritable délibération sur leurs implications sociétales. Dans ce conditionnement généralisé, nous nous sommes résignés à ce(...)
Internet ou le retour à la bougie
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Sur quoi repose la société de l'Internet? Quels enjeux environnementaux et sociaux soulève le bonheur de la connexion permanente? À quels renoncements, à quels sacrifices mène la numérisation de nos vies? Les technologies se sont multipliées sans véritable délibération sur leurs implications sociétales. Dans ce conditionnement généralisé, nous nous sommes résignés à ce que le numérique façonne notre existence. L'ambition de cet essai est d'ouvrir le débat sur ce sujet, mais aussi de faire découvrir des auteurs passionnants (Jacques Ellul, Hartmut Rosa, Philippe Bihouix, Bernard Charbonneau, Jaime Semprun...) afin de prendre la mesure de cette démesure qui semble achever l'expropriation des humains d'eux-mêmes et la destruction du monde vivant. Ce pamphlet, véritable critique radicale de l'Internet et de la société technicienne, se mêle à un récit de vie élaboré à partir d'une observation attentive des transformations de nos vies quotidiennes au travail, dans l'espace social et dans le domaine privé.
Critical Theory
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Perdre la maison, la laisser derrière, de force ou par choix, c'est bien plus que quitter une coque faite de béton, de bois ou autres matériaux de construction. Cette maison, nous l'avons investie de nos gestes quotidiens, de nos pensées et de nos souvenirs. Nous l'avons modelée à notre image, selon nos goûts et nos besoins. En retour, la maison nous a conféré abri et(...)
Perdre la maison : essai sur l'art et le deuil de l'espace habité
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Perdre la maison, la laisser derrière, de force ou par choix, c'est bien plus que quitter une coque faite de béton, de bois ou autres matériaux de construction. Cette maison, nous l'avons investie de nos gestes quotidiens, de nos pensées et de nos souvenirs. Nous l'avons modelée à notre image, selon nos goûts et nos besoins. En retour, la maison nous a conféré abri et sécurité, procurant confort et chaleur, non seulement pour le corps, mais aussi pour l'esprit. Que se passe-t-il dès lors qu'elle est perdue ou quittée ? Cet essai - qui mélange habilement art, architecture, psychanalyse et philosophie - met en scène le deuil du réceptacle de vie qui n'est plus, tout comme cela se fait pour un défunt, puisque la maison est en quelque sorte le double de notre corps. Nécessaire et fascinant temps de transition, afin que puisse s'opérer l'investissement d'un lieu nouveau.
Critical Theory
What comes after farce?
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If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President(...)
What comes after farce?
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If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? 'What Comes After Farce?' comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch. A second reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. Among the phenomena explored here are “machine vision” (images produced by machines for other machines without a human interface),“operational images” (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives.
Critical Theory