Matthew Flisfeder – författare

In Algorithmic Desire, Matthew Flisfeder shows that social media is a metaphor that reveals the dominant form of contemporary ideology: neoliberal capitalism. The preeminent medium of our time, social media’s digital platform and algorithmic logic shape our experience of democracy, enjoyment, and desire. Weaving between critical theory and analyses of popular culture, Flisfeder uses examples from The King’s Speech, Black Mirror, Gone Girl, The Circle, and Arrival to argue that social media highlights the antisocial dimensions of twenty-first-century capitalism. He counters leading critical theories of social media—such as new materialism and accelerationism—and thinkers such as Gilles Deleuze and Michel Foucault, proposing instead a new structuralist account of the ideology and metaphor of social media. Emphasizing the structural role of crises, gaps, and negativity as central to our experiences of reality, Flisfeder interprets the social media metaphor through a combination of dialectical, Marxist, and Lacanian frameworks to show that algorithms may indeed read our desire, but capitalism, not social media, truly makes us antisocial. Wholly original in its interdisciplinary approach to social media and ideology, Flisfeder’s conception of “algorithmic desire” is timely, intriguing, and sure to inspire debate.

In Algorithmic Desire, Matthew Flisfeder shows that social media is a metaphor that reveals the dominant form of contemporary ideology: neoliberal capitalism. The preeminent medium of our time, social media’s digital platform and algorithmic logic shape our experience of democracy, enjoyment, and desire. Weaving between critical theory and analyses of popular culture, Flisfeder uses examples from The King’s Speech, Black Mirror, Gone Girl, The Circle, and Arrival to argue that social media highlights the antisocial dimensions of twenty-first-century capitalism. He counters leading critical theories of social media—such as new materialism and accelerationism—and thinkers such as Gilles Deleuze and Michel Foucault, proposing instead a new structuralist account of the ideology and metaphor of social media. Emphasizing the structural role of crises, gaps, and negativity as central to our experiences of reality, Flisfeder interprets the social media metaphor through a combination of dialectical, Marxist, and Lacanian frameworks to show that algorithms may indeed read our desire, but capitalism, not social media, truly makes us antisocial. Wholly original in its interdisciplinary approach to social media and ideology, Flisfeder’s conception of “algorithmic desire” is timely, intriguing, and sure to inspire debate.

Developing the concept of the hysterical sublime, first theorised by Fredric Jameson, to challenge posthumanist perspectives on the Anthropocene, this book facilitates the rethinking of universal and dialectical humanism as concepts for grappling with 21st-century capitalism. In recent years, posthumanist theories have been concerned with the overlapping dilemmas of global climate change, digital automation, and artificial intelligence, corresponding to the age of the Anthropocene. Matthew Flisfeder explores how the fear of technology becomes, for Jameson, a substitute for the fears of the capitalist system, and shows that posthumanism displaces such fears onto the figure of the human and anthropocentrism. Drawing on Hegelian-Lacanian theory, the book argues that to rethink dialectical humanism requires moving past the historicist versions of Marxist humanism that imagine a complete reconciliation with non-human nature that includes a process of dis-alienation. Flisfeder also studies posthumanism’s “performative contradiction” of dismissing humanism while at the same time depending on the very concepts that constitute the core of humanist thought: freedom, equality, responsibility, and autonomy.Through the concept of the hysterical sublime, this book argues that, not only is anthropocentrism and humanism the unconscious core of posthumanist theory; emancipatory politics must take ownership of this perspective and renew universalist and dialectical humanism as the core of the political project resistant to capitalism and the Capitalocene.

Developing the concept of the hysterical sublime, first theorised by Fredric Jameson, to challenge posthumanist perspectives on the Anthropocene, this book facilitates the rethinking of universal and dialectical humanism as concepts for grappling with 21st-century capitalism. In recent years, posthumanist theories have been concerned with the overlapping dilemmas of global climate change, digital automation, and artificial intelligence, corresponding to the age of the Anthropocene. Matthew Flisfeder explores how the fear of technology becomes, for Jameson, a substitute for the fears of the capitalist system, and shows that posthumanism displaces such fears onto the figure of the human and anthropocentrism. Drawing on Hegelian-Lacanian theory, the book argues that to rethink dialectical humanism requires moving past the historicist versions of Marxist humanism that imagine a complete reconciliation with non-human nature that includes a process of dis-alienation. Flisfeder also studies posthumanism''s “performative contradiction” of dismissing humanism while at the same time depending on the very concepts that constitute the core of humanist thought: freedom, equality, responsibility, and autonomy. Through the concept of the hysterical sublime, this book argues that, not only is anthropocentrism and humanism the unconscious core of posthumanist theory; emancipatory politics must take ownership of this perspective and renew universalist and dialectical humanism as the core of the political project resistant to capitalism and the Capitalocene.

Developing the concept of the hysterical sublime, first theorised by Fredric Jameson, to challenge posthumanist perspectives on the Anthropocene, this book facilitates the rethinking of universal and dialectical humanism as concepts for grappling with 21st-century capitalism. In recent years, posthumanist theories have been concerned with the overlapping dilemmas of global climate change, digital automation, and artificial intelligence, corresponding to the age of the Anthropocene. Matthew Flisfeder explores how the fear of technology becomes, for Jameson, a substitute for the fears of the capitalist system, and shows that posthumanism displaces such fears onto the figure of the human and anthropocentrism. Drawing on Hegelian-Lacanian theory, the book argues that to rethink dialectical humanism requires moving past the historicist versions of Marxist humanism that imagine a complete reconciliation with non-human nature that includes a process of dis-alienation. Flisfeder also studies posthumanism''s “performative contradiction” of dismissing humanism while at the same time depending on the very concepts that constitute the core of humanist thought: freedom, equality, responsibility, and autonomy. Through the concept of the hysterical sublime, this book argues that, not only is anthropocentrism and humanism the unconscious core of posthumanist theory; emancipatory politics must take ownership of this perspective and renew universalist and dialectical humanism as the core of the political project resistant to capitalism and the Capitalocene.

Matthew Flisfeder introduces readers to key concepts in postmodern theory and demonstrates how it can be used for a critical interpretation and analysis of Blade Runner, arguably 'the greatest science fiction film'. By contextualizing the film within the culture of late 20th and early 21st-century capitalism, Flisfeder provides a valuable guide for both students and scholars interested in learning more about one of the most significant, influential, and controversial concepts in film and cultural studies of the past 40 years.The "Film Theory in Practice" series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Postmodern Theory and Blade Runner offers a concise introduction to Postmodernism in jargon-free language and shows how this theory can be deployed to interpret Ridley Scott's cult film Blade Runner.

Matthew Flisfeder introduces readers to key concepts in postmodern theory and demonstrates how it can be used for a critical interpretation and analysis of Blade Runner, arguably 'the greatest science fiction film'. By contextualizing the film within the culture of late 20th and early 21st-century capitalism, Flisfeder provides a valuable guide for both students and scholars interested in learning more about one of the most significant, influential, and controversial concepts in film and cultural studies of the past 40 years.The "Film Theory in Practice" series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Postmodern Theory and Blade Runner offers a concise introduction to Postmodernism in jargon-free language and shows how this theory can be deployed to interpret Ridley Scott's cult film Blade Runner.

Matthew Flisfeder introduces readers to key concepts in postmodern theory and demonstrates how it can be used for a critical interpretation and analysis of Blade Runner, arguably 'the greatest science fiction film'. By contextualizing the film within the culture of late 20th and early 21st-century capitalism, Flisfeder provides a valuable guide for both students and scholars interested in learning more about one of the most significant, influential, and controversial concepts in film and cultural studies of the past 40 years.The "Film Theory in Practice" series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Postmodern Theory and Blade Runner offers a concise introduction to Postmodernism in jargon-free language and shows how this theory can be deployed to interpret Ridley Scott's cult film Blade Runner.